Podcasts about kentucky opera

In this episode, Barbara Lynn Jamison, the CEO of Kentucky Opera, shares her insights as a singer-turned-CEO and highlights the importance of combining artistry and business in the opera industry. The discussion focuses on making opera accessible and representative for all, the impact of opera on the community, nurturing local talent, and the visual and technical aspects of the art form. Additionally, the episode touches on Kentucky Opera's mission and social media presence, showcasing their dedication to engaging and bringing people together through opera.

When Cathy was 15, she fell in love with dance and mime while studying at the Children's Theater School with Myron Johnson and Wendy Lehr. She went on to dance with Zoe Sealy's Minnesota Jazz Dance Company where she met aspiring choreographer Ken Delap. As an original member of Ken Delap's Ozone Dance Company, Cathy performed across the Midwest and in New York City at the American Theater Laboratory.Other performance highlights include playing the lead in Kenneth Robbins' production, “Accidently Exalted” at St. Paul's Landmark Center, numerous productions at Chanhassen Dinner Theaters, Minnesota Opera, Kentucky Opera, and Minnesota Orchestra's Summer Pops Concerts, and live business theater events. Choreography credits include Chanhassen Dinner Theater, Minnesota Opera, Theatre Exchange, History Theater, Skylark Opera, Target Corporation, as well as colleges and high schools.As a mime, Cathy was an artist in residence through the Minnesota State Arts Board's Artists-in-Education Program, co-authored “The Mime Alphabet Book” with her sister, Nina, and performed as a Yoplait mime in New York and New Jersey.Since 1996, she's been working as a marketing writer for Twin Cities-based creative agencies and corporate clients. She still enjoys performing but now as a storyteller at The Moth, Minnesota Fringe Festival, Patrick's Cabaret, TEDx, Story Club, and Island of Discarded Women podcast.

 Broadway, TV & Film actor Noah J Ricketts joins Lisa in a lively and heartfelt conversation that illuminates the importance of authenticity and self-care, challenging societal norms, and the power of acknowledging our achievements.Noah's story is one of resilience and courage, as he shares how he's faced challenges head-on, including dealing with anxiety and the impacts of the pandemic on his career. Yet, it's his commitment to question everything that truly inspires. Always living in a world of 'why not', Noah challenges limiting beliefs and encourages us all to harness the power of authenticity. His morning rituals, aspirations, and dreams offer a fascinating glimpse into his world, from his audacious goals of bridging various creative realms to his experiences leading Broadway shows.It's an exploration into the life of a creative soul navigating life's challenges while staying true to our passions. Tune in and get ready to be inspired, motivated, and maybe even challenged to view your world from a different perspective.Find out more about Noah:Noah J. Ricketts   Broadway: Kristoff in "Frozen: The Musical", 'Beautiful: The Carole King Musical'. Off Broadway: Omar - in "To My Girls" (Second Stage Theatre) Regional: Nick Carraway in The Great Gatsby Musical, Michael in 'Tick Tick... Boom' (Bucks County Playhouse) Television credits include the breakout role of Frankie in the Showtime series "Fellow Travelers" streaming now, Kai in American Gods (STARZ); High Fidelity (Hulu); Christmas Deja Vu (BET). His film work includes the horror comedy Summoning Sylvia, The Sixth Borough, The Fiji Incentive. In Concert: The Houston Symphony, The Kentucky Opera and Stage Entertainment Russia. BFA: CCM. Instagram: @noahjrkts.Support the showTAKE YOUR MINDFULNESS & INSIGHTS ONE STEP FURTHER WITH PREMIUM MEDITATIONSSubscribe to premium content today and have access to bonus episodes worksheets and meditations. Whether you are looking to relax, recenter, reduce stress, increase motivation, fall asleep peacefully or wakeup ready to take on the day, these meditations and visualizations are for you. You will also have the opportunity to connect directly with me via email to let me know what kind of meditations you are looking for, share your episode insights and suggest guests that you might be interested in hearing from so that I can create content for you!Subscriptions begin at $3/month and subscribers who choose $10 a month subscription also receive a monthly coaching exercise from my client workbook.Interested in finding out more about working with Lisa Hopkins? Visit www.wideopenstages.comFollow Lisa https://www.instagram.com/wideopenstages/

I had the pleasure of talking with teaching artist Jillian Paige and these are some of my takeaways. First, learn how to pace yourself on this artistic journey. There will be ebbs and flows and being able to handle them with grace will help you because a full artistic life is gonna involve pivots and changes. Next, find comfort in knowing you did the thing you set out to do, celebrate that achievement, and then move onto the next thing without any regrets because you did it. Finally, don't force finding your groove. It's hard not to put pressure on yourself or your new venture to succeed but letting it blossom while you sustain yourself financially in another way may actually help the process. Jillian Paige is the Founder of Meisner in Music, the premier class to infuse the Meisner technique with singing. Jillian received her master's in music theatre from Oklahoma City University, her bachelor's in classical vocal performance from Belmont University, and studied Meisner under Terry Martin (a direct pupil of Meisner's), and Ted Wold. Jillian is based out of New York City and has performed with companies such as Actors Theatre of Louisville, the Nashville Opera, and Kentucky Opera. She is passionate about helping singers maintain beautiful singing while achieving emotional freedom and impulsivity in the moment. Get in touch: Website: https://www.jillianpaige.com/ Instagram: @jillianpaige, @meisnerinmusic  Ayana Major Bey  Website: www.ayanabey.com Instagram: @ayanambey, @theartistpivot  Monthly Newsletter: https://www.ayanabey.com/podcast Show Sponsors:  BetterHelp: Get 10% off your first month with BetterHelp at https://betterhelp.com/artistpivot  WeAudition: Get 25% off your membership when you use the code PIVOT, join at https://www.weaudition.com/ ******* Host & Exec. Producer: Ayana Major Bey  Editor: Kieran Niemand 

Jillian Paige is the Founder of Meisner in Music, the premier class to infuse the Meisner technique with singing. Jillian received her master's in music theatre from Oklahoma City University, her bachelor's in classical vocal performance from Belmont University, and studied Meisner under Terry Martin (a direct pupil of Meisner's), and Ted Wold. Jillian is based out of New York City and has performed with companies such as Actors Theatre of Louisville, the Nashville Opera, and Kentucky Opera. She is passionate about helping singers maintain beautiful singing while achieving emotional freedom and impulsivity in the moment. The study referenced in this episode is "Enhancing Empathy and Theory of Mind" by Thalia Goldstein & Ellen Winner. Meisner in Music's socials: IG: @meisnerinmusic Tiktok: @Meisnerinmusic www.meisnerinmusic.com Summer Intensive happening online and in NYC the first three weeks in August. Seeded Productions, LLC: Visit our website for more info www.seededproductions.com IG: @seeded.productions MERCH! Make a tax deductible donation HERE.

I'm at an Improv class doing a scene with a partner when the instructor stops us. He says to me, “When you think about your character you just acted out, what was their point of view? What was their philosophy?” I'm thinking, “Philosophy?! This is Improv! I barely know my character's name, let alone what my character's philosophy is.” I tell him that I have no idea. And then he gives me a piece of advice that has stuck with me: knowing your character's philosophy, point of view, or how they see the world will influence what you say, how you say it, your voice, your body language--everything. Even though in Improv we don't have any time to set up a whole backstory for our character, just having that awareness of their philosophy helps you as a performer. It changed me. And my special guest today, Jillian Paige, lives in the world of perspective from the point of view of a classically-trained singer, actress, and instructor. In this episode of the Storytelling School Podcast, you'll hear about how you can take performance training to a whole new level in your storytelling (or anything you do). We'll also answer questions like: What is the Meisner technique, and how is it similar and different to Improv? How can repetition help ground and calm you before a performance or audition? How can you practice avoiding inattentional blindness when speaking or performing? And what is the “liking gap” and how can you use it in your storytelling to take it to the next level? Along the way, you'll hear about Marlon Brando's influence on Hollywood acting, the operatic singer who cried from letting go, the 90-second audition gone wrong, and so much more! What you will learn in this episode: How using the Meisner technique can affect the story you experience How Meisner can help you move past the story of not feeling good enough Why a “f*$% it” mentality can be crucial to keeping your audience engaged Who is Jillian? Jillian Paige is the Founder of Meisner in Music, the premier class to infuse the Meisner technique with singing. Jillian received her master's in music theatre from Oklahoma City University, her bachelor's in classical vocal performance from Belmont University, and studied Meisner under Terry Martin (a direct pupil of Meisner's) and Ted Wold. Jillian is based out of New York City and has performed with companies such as Actors Theatre of Louisville, the Nashville Opera, and Kentucky Opera. She is passionate about helping singers maintain beautiful singing while achieving emotional freedom and impulsivity in the moment. Links and Resources: Meisner in Music @MeisnerinMusic on Instagram @meisnerinmusic on Tik Tok @JillianPaige on Instagram “Inattentional Blindness” | Youtube “The Liking Gap” | Psychology Today Storytelling School Website @storytellingschool on Instagram @storytellingSchool on Facebook

Diana Solomon-Glover answered the call from her friend and musical collaborator Chandler Carter to pursue a commission by the Santa Fe Opera for new works.  They presented the story of Fannie Lou Hamer as an opera, won the commission and  the upcoming debut is sure to be a theatrical experience like no other.Diana is a longtime friend of Before You Go co-host Nicole Franklin. In this interview, Franklin and Bryant Monteilh learn first-hand how classical  music and African American stories are what audiences have been waiting for, and in which Diana brings a lifetime of classical music experience. As the librettist, Diana took a deep dive into Hamer's life, accomplishments and colorful quotes. Hamer did not realize until her 40s that she was even eligible to participate in the electoral process. In rallying fellow Mississippians and a nation, she experienced a violent beating while in police custody and had been the victim of forced sterilization when a surgeon performed an unauthorized hysterectomy. Diana details it all. And, through it all, Fannie Lou Hamer still inspires generations of young activists and those who benefited from her fight.Excerpts from "This Little Light of Mine" rehearsals of Santa Fe opera and Kentucky Opera may be found here. Details about the opera's debut may be found here.This episode premiered on KBLA Talk 1580 in Los Angeles, CA. 

The hair stylist you select for your bridal party is one of your most important hires. There is so much to understand and to consider when planning your wedding hair looks. Listen to this episode to hear co-hosts Kristina, Mike and Sharon talk with hairdresser, Stacie Hutchinson about considering the aesthetic of your stylist, scheduling trial runs, gathering inspiration photos and when a 2nd stylist is needed. Stay tuned because this episode contains ALL THE THINGS a bride should consider when hiring a stylist for herself and the bridal party! Stacie's career in the hair industry started in 2005 and although her first love was bridal make-up, she found bridal hair to be her lasting passion and creative outlet. She has pursued additional education, so she remains current on trends and all the tips and tricks. After over 17 years in the industry, Stacie still gets excited about getting to be part of each bride's special day! Stacie also has worked for the Kentucky Opera placing wigs and doing makeup.Timestamps:• [02:41] Sharon “one of the first things I want to point out is, don't assume that the person who does your hair normally regularly wants to do your wedding hair” • [03:26] Stacie “I think then the top thing to consider is the style of your stylist. Not every stylist has the same style. Some of them are better at boho, some of them are better at sleek looks. And some just aren't versed in using added additives to the hair, like extensions or buns that make the hair make you look like you have more hair than what you have. • [18:38] Kristina “When you're going to book your stylist for that day. How many can you have but then also do they? Do they find someone else to help them or work with them?” • [31:19] Michael “what's one tip that you would give up or tell a bride before she started looking or even thinking about hair?” For more information on The Ring The Bling And All The Things Podcast, visit: https://www.ringblingallthethingspodcast.com/Kristina StubblefieldCoaching & consulting: https://kristinastubblefield.com/Website: https://www.ringblingallthethingspodcast.com/Facebook: https://www.facebook.com/theringtheblingandallthethingsInstagram: https://www.instagram.com/theringtheblingandallthethings/The Ring The Bling And All The Things Community Platform: https://www.ringblingallthethings.com/Michael GaddieWebsite: https://www.lloydsflorist.net/Facebook: https://www.facebook.com/lloydsflorist/Instagram: https://www.instagram.com/lloydsflorist/ Sharon RumseyWebsite: https://aperfectplanevents.com/Facebook: https://www.facebook.com/APerfectPlanKentuckiana/Instagram: https://www.instagram.com/aperfectplaneventskentuckiana/Guest InformationStacie HutchisonInstagram: https://www.instagram.com/bombshellred

Today's episode is one that I'm personally excited about, as my guest today Elizabeth Askren was on my guest list way before I started this podcast. Elizabeth and I met when we were both fellows for the Dallas Opera Hart Institute for Women Conductors, and she has since continued to mentor other conductors and artists through the Dallas Opera program and also the Transylvanian Opera Academy that she founded in Cluj, Romania. In today's episode, Elizabeth will speak with me on one topic that I found really important and somehow under-explored during conservatory training -- networking tips. If networking doesn't come as natural to you, or if you are always awkward speaking to strangers like me, today's episode is for you.Elizabeth Askren has built a fast-rising career by empowering musicians around the world, whether from the podium as a conductor of leading ensembles, as an educator with her Transylvanian Opera Academy, and as a speaker on issues of leadership, diversity and more. Her recent performances include débuts in Europe with the Transylvanian State Philharmonic, the Romanian National Opera of Cluj-Napoca, and France's Victor Hugo Franche-Comté orchestra, and in the United States with the Dallas Opera and Kentucky Opera. She has also performed with the London Symphony Orchestra and Royal Philharmonic Orchestra on recent recording projects.For all show notes and transcripts, check out my website: chaowenting.com/podcast, and please leave a review and subscribe if you are loving the show!

To appreciate the life and legacy of civil rights icon Fannie Lou Hamer is to speak truth to power and unite in song. In June of 2021, Opera For All Voices did just that, hosting an online workshop of This Little Light Of Mine, the one-act opera commissioned by Santa Fe Opera, composed by Chandler Carter with a libretto by Diana Solomon-Glover, in collaboration with Kentucky Opera led by Barbara Lynne Jamison. No one's better suited to take the mic than for this exploration Ms. Hamer's lasting impact than Diana. She delivers three riveting segments beginning with Ann and Chester Grundy, community activists from Lexington, KY,  who had encounters with Fannie Lou Hamer.  When Ann Grundy offered to escort Ms. Hamer around Berea College campus for a week-long speaking engagement in 1964, little did she know the ripple effect that Ms. Hamer's presence in her life would have.  One year later and 40 miles away, Mrs. Grundy's soon-to-be husband Chester met Ms. Hamer at the University of Kentucky. “She asked us what are we doing?” At 18, he was unable to interpret the profound nature of that question. While he wishes he could go back in time to give a more substantive answer, Mr. Grundy knows one thing for sure. “[Fannie Lou Hamer] was a kind of, I would say, a transitional person, someone you never forget, somebody who did something that changed the kind of orbit of your life.” In the second segment, Diana speaks with Dr. Aldon Morris, the Leon Forrest Professor of Sociology and African American Studies at Northwestern University, and Reverend Dr. James Forbes Jr, Senior Minister Emeritus of Riverside Church in NYC. After reading an article he wrote for Northwestern Magazine, Diana was inspired to engage Dr. Morris in conversation about the power of art, music specifically, to affect long-held mindsets about sociological issues.  “Music has just been a central component of our long struggle to be free,” he says, a galvanizing force for centuries. The act of singing itself gave Ms. Hamer the courage to defy intimidation and brutality, to be the light in times of darkness.   Rev. Forbes agrees. Music has always played a central role to worship in Black churches. Ms. Hamer instinctively understood that perseverance and truth were woven into the lyrics she sang. “You just sing about it,” Rev. Forbes says, “[and] you may be able to get away with a political critique.” The final segment features Diana, Barbara Lynne, and Andrea reflecting on the role of art and artists in a world afraid to confront the truth. Beyond portraying key events in the life of voting rights activist Fannie Lou Hamer, This Little Light Of Mine introduces audiences to truths that may be new to them and, in the process, energize them to transform the future. “The music gave so much power to the movement and, it's very hard to describe in words, but the thing that music does to us is totally experiential,” Diana and her guests remind us. “It kind of defies language.” RELATED EPISODES: Season 2, episode 7: Mother of a Movement - introduction to the commission of This Little Light of Mine with composer Chandler Carter and librettist Diana Solomon-Glover Season 3, bonus episode: Is This America? - interview with voting and civil rights activist, LaToya Ratlieff, Fannie Lou Hamer's grand-niece; and Diana Solomon-Glover Season 3, episode 4: Singing a Call to Action - featuring the interpretative artists and community partners of Is This America? Season 3, episode 6: Building a Better Society - featuring guest host Javier Mendoza and Florida International University students who performed a live stream of Is This America? *** Key Change is a production of The Santa Fe Opera in collaboration with Opera for All Voices. Hosted by Andrea Fellows Fineberg Guest Host Diana Solomon-Glover Featuring: Ann & Chester Grundy - Community activists Diana Solomon-Glover - Librettist, This Little Light Of Mine, and Key Change guest host Reverend Dr. James Forbes, Jr. - Senior Minister Emeritus of The Riverside Church, NYC Dr. Aldon Morris - The Leon Forrest Professor of Sociology and African American Studies at Northwestern University  Barbara Lynne Jamison - General Director, Kentucky Opera Produced and edited by Andrea Klunder at The Creative Impostor Studios Audio Engineer: Kabby at Kabby Sound Studios in Santa Fe Theme music by Rene Orth with Corrie Stallings, mezzo-soprano, and Joe Becktell, cello. NEW! Cover art by Dylan Crouch Episode Recording Engineer: Andrew Kung Photography Special thanks to Kentucky Opera   MUSIC IN THIS EPISODE This episode contains excerpts from the This Little Light of Mine workshop in collaboration with Kentucky Opera, featuring Nicole Joy Mitchell as Fannie Lou Hamer. Credits:  Composer: Chandler Carter  Librettist: Diana Solomon-Glover  Director: Beth Greenberg  Chorus master: Everett McCorvey  Music Director: Jeri Lynne Johnson  Fannie Lou Hamer: Nicole Joy Mitchell  Dorothy Jean Hamer: Aundi Marie Moore  June Johnson/SNCC Worker: Heather Hill    MENTIONED IN THIS EPISODE The Reckoning Is Here - Dr. Aldon Morris, Northwestern Magazine *** This podcast is made possible due to the generous funding from the Melville Hankins Family Foundation, the Andrew W. Mellon Foundation, and an OPERA America Innovation Grant, supported by the Ann and Gordon Getty Foundation.   To learn more about Opera For All Voices, visit us at SantaFeOpera.org

Today we are celebrating MSE’s 50th episode with special guest, Calesta (Callie) Day!!! In this episode, we discuss growing up as PK’s, her career, challenges she’s had along the way, facts people may not know, and she even sings for us! She is a native of Atlanta, Georgia. She has performed with the Miami University Opera, the Cincinnati Opera, the Bowling Green State Opera, the University of Kentucky Opera and in recent years, a touring member of the American Spiritual Ensemble. She has traveled extensively performing across the nation, and in Europe and Central America. Recently, Callie has taken social media by storm as fans all over the United States have captured her amazing voice in videos that have instantly gone viral! Even before then, many had already witnessed her gifts in churches and schools where she's taught and served, especially in her local Walmart where she was featured as the "Singing Pharmacy Tech" on several commercial videos. In August 2016, Callie released her 1st single, "Hear My Prayer", a Moses Hogan composition arranged by Callie Day, Lan Wilson, G. LeRon Rainey, and Mark Lacy. Her freshman album was released on April 14, 2017 and is available on Apple Music, Itunes, Google Play and Amazon. Callie premiered and debut in PLAY, the first piece created for the Paris Opera Ballet by the Swedish choreographer Alexander Ekman in December 2017 at the Palais Garnier Opera House. Currently, Callie is completing her second year as Artist In Resident in voice at HBCU Kentucky State University in Frankfort, Kentucky. On August 6, 2019, Callie was a contestant on America's Got Talent Season 14 were she made it all the way to the judge cuts with celebrity guest judge; Jay Leno. Callie received the Associates degree from Sinclair Community College in Vocal Performance, the Bachelors degree from Bowling Green State University in Vocal Performance, the Masters degree in Education with a Music Concentration from University of Dayton. Callie is also currently a candidate for the Masters of Fine Arts (Miami University, OH) and Doctor of Music degrees (University of Kentucky). Her doctoral project is "Exploring The Role Of African American Opera Singers In The Establishment Of The Spiritual As A Musicial Art Form From 1900 to 1920.” Visit https://artistecard.com/callieday to support and stay connected with Psalmist Callie Day! Join MSE’s growing podcast community on social media Instagram and Facebook: @msepodcast. Visit bygracenp.com to see more and you can also tune in through the free By Grace Not Perfection mobile app on Apple and Android devices. --- Support this podcast: https://anchor.fm/myse/support

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

Mary Birnbaum, Stage Director for Glory Denied at Kentucky Opera and Jeremy Harrell, Kentucky Veteran of the Year and Founder/President of Veteran’s Club talk about the Kentucky Opera’s upcoming performance of “Glory Denied,” the story of Jim Thompson, America’s longest-held prisoner of war. Jeremy also discussed the Veteran’s Club and some of the ways they try to help veterans adjust to life back home. Listen to their visit here…

Andrea always says, "our best education program is what happens on the main stage," and it's true, but how do we get new audience members TO the main stage? Education, outreach, programs and partnerships... these departments are not just about programming for children and schools, but even more so about building relationships on and off stage an sparking interest through storytelling that connects with new and diverse audiences. In this episode, Andrea takes a deep dive with Barbara Lynne Jamison, who at the time of recording was Director of Programs and Partnerships at Seattle Opera, and at the time of release has been named the new General Director of Kentucky Opera, as we explore the expanding role of education departments as the lifeblood of opera companies in the United States.  *** Key Change is a production of The Santa Fe Opera in collaboration with Opera For All Voices. Produced and edited by Andrea Klunder at The Creative Impostor Studios Hosts: Andrea Fellows Walters and Brandon Neal Audio Engineer: Kabby at Kabby Sound Studios in Santa Fe Theme music by Rene Orth with Corrie Stallings, mezzo-soprano, and Joe Becktell, cello. Cover art by David Tousley Special thanks to Bad Animals in Seattle. OFAV Consortium Members:  Lyric Opera for Kansas City, Minnesota Opera, Opera Theatre of Saint Louis, San Francisco Opera, Sarasota Opera and Seattle Opera. This podcast is made possible due to the generous funding from the Melville Hankins Family Foundation, the Andrew W. Mellon Foundation, and an OPERA America Innovation Grant, supported by the Ann and Gordon Getty Foundation.   To learn more about Opera for all voices, visit us at SantaFeOpera.org

This is the last episode in our long series celebrating Black histories, current realities, and futures in the mountains and beyond. We were joined in the studio this afternoon by the cast of KY Opera’s “OH Freedom.” They performed segments of the show, talked about the importance music and art in education, explained how opera singers amplify their voices without microphones, talked about the challenges of wearing a corset on stage, and spoke about the power of music to connect us across difference.

Kentucky Opera Lecture Series: Dead Man Walking with author Sister Helen Prejean and composer Jake HeggieFaith. Justice. Redemption. These may be familiar operatic themes, but Dead Man Walking is no ordinary opera: the story revolves around a nun and her journey to advise a condemned prisoner on death row. Set in contemporary Louisiana, the opera is based on the nonfiction book of the same name by Sister Helen Prejean and composed by Jake Heggie.Join special guests Principal Conductor Joseph Mechavich and Ellen Douglas Schlaefer, Director of Opera Studies for the University of South Carolina, and composer Jake Heggie for a discussion about opera, redemption, and the criminal justice system. Ian Derrer, General Director of Kentucky Opera, serves as moderator.This lecture is the second of a three-part series with the Kentucky Opera.

Kentucky Opera Lecture Series: Dead Man Walking with author Sister Helen Prejean and composer Jake HeggieFaith. Justice. Redemption. These may be familiar operatic themes, but Dead Man Walking is no ordinary opera: the story revolves around a nun and her journey to advise a condemned prisoner on death row. Set in contemporary Louisiana, the opera is based on the nonfiction book of the same name by Sister Helen Prejean and composed by Jake Heggie.Join special guests Principal Conductor Joseph Mechavich and Ellen Douglas Schlaefer, Director of Opera Studies for the University of South Carolina, and composer Jake Heggie for a discussion about opera, redemption, and the criminal justice system. Ian Derrer, General Director of Kentucky Opera, serves as moderator.This lecture is the second of a three-part series with the Kentucky Opera.

Ian Derrer leads the Kentucky Opera, fueled by a lifelong love of opera. He became the fifth general director in Kentucky Opera history in 2006 and leads the organization in their mission to entertain and educate a broad and diverse audience by producing opera of the highest quality. Derrer joined the organization after serving in his previous role as artistic administrator and a member of the senior management team of the Dallas Opera. Bitten by the opera bug as a young child, Derrer has worked with opera companies throughout the U.S. and in Italy. His experience from serving operas in Dallas, New York, Santa Fe and Charlotte has given him an opportunity to learn from leading general directors in the field. Their lessons on fundraising, audience development, branding, and community involvement give him a unique advantage. Derrer’s prior experience includes working as a scheduling coordinator for the International Institute of Vocal Arts in Chiari, Italy. He also interned at Columbia Artists Management, Inc. in the office of Ronald A. Wilford. Derrer received masters’ degrees in opera production, voice, and performing arts management from Northwestern University and Brooklyn College. He also completed a Bachelor of Music degree in voice performance from the Meadows School of the Arts at Southern Methodist University.

Terri Foster knew from a young age she had musical gifts, and now seeks to use her gifts to help other young people develop theirs. Since 2007, Foster has been named artistic/executive director of the Louisville Youth Choir. She directs the Chamber and Aria Choirs at LYC, as well as the all-female Adult Alumni Choir. Under her direction, the Louisville Youth Choir performed with the Moscow Ballet in their U.S. touring production of “The Great Russian Nutcracker.” Conducting since 1993, Foster was formerly the conductor of Bella Voce and the Louisville Children’s Choir, which performed at Carnegie Hall. She also conducted at both public and private schools. She was a voice teacher at Sacred Heart School for the Arts, the Choral Director at Sacred Heart Academy, and has a private voice studio, as well. Her professional vocal career includes performing with the Kentucky Opera, the Stephen Foster Story, community theatre groups, and solo engagements with churches and at private events. Foster is a member of the Kentucky Music Educators Association and the Kentucky American Choral Director’s Association.

Cathy Fyock’s belief in being true to your heart sparked her career as an author and human resources consultant. Fyock launched her author-consultancy business, named Your Possibility Partner, to provide professionals with coaching support to help them cut through the daily distractions of everyday life and find the focus they need to write their books. She has provided keynotes and workshops for hundreds of clients and has authored six books, including “On Your Mark: From First Word to First Draft in 6 Weeks.” Fyock was an employment strategist with several business and HR consulting firms before leading her own company, Innovative Management Concepts, for more than 20 years. Fyock also sang professionally with the Kentucky Opera for two seasons. Fyock received her undergraduate degree in music from Western Kentucky University and her master’s in human resources from the University of Louisville.

On our audio diary series The Big Break, all three of our apprentices go back to school. Actors Theatre of Louisville apprentice Samantha Beach learns a new vocal technique in a workshop, while Louisville Ballet trainee Claire Horrocks plays both teacher and student while developing her original piece for the upcoming Choreographer's Showcase (Jan. 24). Studio artist Brad Raymond is back from winter break, performing in schools for the Kentucky Opera's educational outreach program.

The first season of our audio diary series “The Big Break,” comes to a close this week. Since last fall, understudies and apprentices take us behind the curtain at the Kentucky Opera, Actors Theatre of Louisville and the Louisville Ballet. We'll launch the next season of The Big Break with a new class of up-and-coming artists in the early fall. For their final diaries, actor Samantha Beach and dancer Claire Horrocks reflect on their time in Louisville and shaer what lies ahead now that the season is over.

On our audio diary series “The Big Break,” understudies and apprentices take us behind the curtain at the Kentucky Opera, Actors Theatre of Louisville and the Louisville Ballet. The season is almost over for the actors and dancers. Her time in Louisville is almost up, so Actors Theater apprentice Samantha Beach has to decide where she wants to build the next phase of her career. Louisville Ballet trainee Claire Horrocks makes plans for her summer that will help her prepare for a possibility every dancer fears -- the day she can't dance anymore.

On our audio diary series The Big Break, we hear from Louisville Ballet trainee Claire Horrocks on staging the market scene in Act Two of "Romeo and Juliet," and studio artist Brad Raymond discusses his role in the chorus of "Don Giovanni," his final role with the Kentucky Opera.

On our audio diary series The Big Break, our emerging performers encounter some surprises on stage and learn that every show brings its unique challenges and opportunities. Actors Theatre of Louisville apprentice Samantha Beach receives her crew assignments from her Humana Festival "bible," Louisville Ballet trainee Claire Horrocks re-learns how to walk like "a real person" in "Romeo and Juliet" and Kentucky Opera studio artist Brad Raymond enjoys some noir-infused fun in "Don Giovanni."

On our audio diary series The Big Break, our emerging performers learn and teach some unique history lessons.Louisville Ballet trainee Claire Horrocks gets fitted for costumes for the upcoming production of "Romeo and Juliet" and takes us on a tour of the costume shop. Actors Theatre of Louisville apprentice Samantha Beach uses Roman history to write a play in 24 hours, and Kentucky Opera studio artist Brad Raymond goes on tour to local schools, teaching American history through song.

On our audio diary series The Big Break, our emerging performers dig deep into their daily work. Actors Theatre of Louisville apprentice Samantha Beach learns how fearless high school playwrights can be while reading for the theater's New Voices Young Playwrights Festival. Louisville Ballet trainee Claire Horrocks studies character development from choreographer Helen Starr in rehearsals for "Romeo and Juliet," while Kentucky Opera studio artist Brad Raymond faces the unmentionable—losing his voice during a run of outreach performances.

On our audio diary series The Big Break, two of our artists prepare to step out of the wings and into center stage this month. Louisville Ballet trainee Claire Horrocks rests her body before opening the Choreographer's Showcase and Actors Theatre of Louisville apprentice Samantha Beach rehearses a short play for "The Tens," the annual ten-minute play apprentice showcase. Kentucky Opera studio artist Brad Raymond is on hiatus until later this month.

This week on our audio diary series, The Big Break, two of our emerging artists see their stages from a different perspective. Louisville Ballet trainee Claire Horrocks takes a leap of faith in herself to create a piece for the ballet's Choreographer's Showcase, and Actors Theatre of Louisville apprentice Samantha Beach takes us backstage at the revolving set of "A Christmas Carol." Kentucky Opera studio artist Brad Raymond is on hiatus and traveling until January.

This week on our audio diary series, The Big Break, Actors Theatre of Louisville apprentice Samantha Beach gets some sage advice on second careers from the cast members of each of the theater's productions, while Louisville Ballet trainee Claire Horrocks opens her first full-length production of "The Nutcracker." Kentucky Opera studio artist Brad Raymond is on hiatus and traveling until January.

Louisville Ballet trainee Claire Horrocks gets a nice surprise during her last public performance. Actors Theatre apprentice Samantha Beach closes "Dracula" without ever going on for the role she understudied, but she already knows she'll take the stage in "A Christmas Story" during student matinees. In "Cinderella," Kentucky Opera studio artist Brad Raymond learns there's no such thing as a small role.

This week on our new audio diary series “The Big Break,” Actors Theatre of Louisville apprentice Samantha Beach and Kentucky Opera studio artist Brad Raymond take us inside tech week, the full rehearsals leading up to opening night. Samantha captures the sounds of "Dracula" from underneath the Bingham Theatre stage and tells us what "rat down!" means, while Brad explains how a bad voice day can throw off an entire "Tosca" tech rehearsal.

Louisville Ballet trainee takes us inside rehearsals for "Lady of the Camellias" with choreographer Val Caniparoli. Actors Theatre apprentice Samantha Beach contemplates holiday audition season and Kentucky Opera studio artist Brad Raymond, fresh off his turn as evil henchman Spoletta "Tosca," prepares for another devilish role in "The Prodigal Son."

This week on our new audio diary series “The Big Break,” Louisville Ballet trainee Claire Horrocks experiences her first full production, while Actors Theatre apprentice Samantha Beach tries to figure out how to set good artistic habits for her future. Kentucky Opera studio artist Brad Raymond reflects on his most recent show, "The Prodigal Son."

This week on our new audio diary series, "The Big Break," Louisville Ballet trainee Claire Horrocks moonlights as a teacher, while Actors Theatre apprentice Samantha Beach works a fundraiser for the theater's annual Humana Festival. Kentucky Opera studio artist Brad Raymond figures out how to make his busy rehearsal schedule accommodate his second job and his first love.

This week on our new audio diary series, "The Big Break," Actors Theatre apprentice Samantha Beach pulls a shift in the literary department and sees herself in the incoming ten-minute play scripts. Louisville Ballet trainee Claire Horrocks takes us inside the dancer's lounge, while Kentucky Opera studio artist Brad Raymond balances family time with the rigors of the stage.

Actors Theatre apprentice Samantha Beach prepares for mock auditions while learning how to embrace being cast as a certain type. Louisville Ballet trainee Claire Horrocks goes through the process of developing her character for her very first public performance with the company, while Kentucky Opera studio artist Brad Raymond switches from villain to comic relief in "Cinderella."

Louisville Ballet trainee Claire Horrocks sees the cast list for "The Nutcracker" and learns her new choreography for the familiar show. Actors Theatre apprentice Samantha Beach sits in on rehearsal for "True West," where she discovers a hidden talent, and Kentucky Opera studio artist Brad Raymond takes "Tosca" on the road.