Podcasts about national opera center

Marc A. Scorca joined OPERA America as president and CEO in 1990. Under his leadership, OPERA America has become one of the most respected arts service organizations in North America. Its membership has grown from 120 opera companies to nearly 4,000 organizations and individuals, and its reach extends to 80,000 annual visitors at the National Opera Center and over 83,000 subscribers across digital channels worldwide.Marc has administered over $20 million in grants and prizes to opera companies and artists for audience building, business innovation, civic practice, co-productions, and the development of new work. Due in large part to his contributions to the organization, OPERA America was inducted into the American Classical Music Hall of Fame in 2013.Marc has served as a member of the U.S. delegation to UNESCO, an officer of the Performing Arts Alliance, and on the Music Advisory Boards of Hunter College (CUNY) and the Curtis Institute of Music.

Desperadoby Dr. Vivian Dorsett, PhDLinda is currently receiving counseling in her psychiatrist's office when her multiple personalities start to interrupt the sessions as Dr. Walker attempts to maintain control. Linda has to gain control over her personality so she won't be committed to a mental institution and lose custody of her own children to child welfare. Birdie tries to assist Dr. Walker, but Linda doesn't trust her.Vivian Dorsett (Playwright) Vivian is a college instructor and has produced and directed theater at a collegiate and community level. Her most recent acting debut in Community Theater was Vagina Monologues. Most of her playwriting is based on social justice and represents marginalized populations.Carrie Wesolowski (Linda): A career woman with multiple personalities-- Penny, a surly teenager, and Veronica, an angry, aggressive adult.Born and raised in NYC, Carrie's a co-host of AirPlay and regular contributor to AirPlay as Actor/Director. Carrie's recent credits include directing the opera The Bird Lady at The National Opera Center, playing Mandy in Theater for the New City's Dermalogic and directing and playing the female lead Destiny in Simon Says, a finalist in Playbill VTF Live and Manhattan Rep's Stories Film Festival. Upcoming projects include supporting roles as Helen Hayes/Julia in Coni Koepfinger's Live From The Bardo: My Dinner With Mary in January 2022 at Theatre for the New City in NYC directed by the legendary Dan Carter.Beth Griffith (Birdie) Linda's biological mother who has a 7th grade education and has been emotionally absent throughout Linda's life.Beth has performed with HERE Art Center, LaMaMa, NYTW, New Ohio Theatre, New York City Opera, International WOW, Clubbed Thumb, New Georges,Medicine Show Theatre, Theater For The New City, New York Workshop Theater, Ars Nova's Makers Lab, Music We'd Like to Hear (London), Sachiyo Ito's DanceJapan and The Flea. Upcoming performances with: The Hearth, Crossways Theatre, Broadway Bound Festival and Out of the Box Theater.Matt Matthews (Dr. Walker, Psychiatrist) Matt immigrated to California from Texas many years ago. He is an actor, singer, theatre director, choral director, and voice for hire. Recent Zoom projects include Dermalogic, as Stansfield, and Yellow Ribbons, as director. Some favorite roles: Marley's Ghost in A Christmas Carol and Gremio in Taming of the Shrew.

Live from The Bardo: My Dinner with Maryby Coni Koepfinger and Dan Carter When destiny reunites two long estranged actresses, new realities open to give them a peek backstage at their real lives in Live from the Bardo: My Dinner with Mary.Mary Tierney (Mary) Mary started her acting career in Dublin, where she worked for five years. After returning to NYC she started her own theater, The BillyMunk and the last three decades she spent at Theater for the New City.Mary Ellen Ashley: (Mary Ellen) Actress, Singer, Dancer, and Producer of Broadway,Television, and Film, her resume includes many Off-Broadway credits. She also spent many years in regional theaters, including playing Dolly Levi in Hello Dolly 11 times, and was in Music Man; Funny Girl, Cabaret; Best Little Whorehouse, 42nd Street. Fiddler;Gypsy just to name a few….Carrie Wesolowski (Julia/Helen Hayes) Born and raised in NYC, Carrie's a co-host of AirPlay and regular contributor to AirPlay as Actor/Director. Carrie's recent credits include directing the opera The Bird Lady at The National Opera Center, playing Mandy in Theater for the New City's Dermalogic and directing and playing the female lead Destiny in Simon Says, a finalist in Playbill VTF Live and Manhattan Rep's Stories Film Festival.Félix E. Gardón (Jose Ferrer) Félix is a native Puerto Rican actor/artist/activist who was the artistic director and board chair of Los 4 Gatos Theater Company, a bilingual Puerto Rican troupe supported by Pregones theater. He has performed and worked with the Medicine Show Theater show since 2000. Felix is also an abstract artist, student of the late master modern art painter Omiros Hriso, and works in the mediums of acrylic and Polaroid manipulation. Katherine Elliot (Katherine Hepburn) Cofounder/Actor/Producer-Wild Banshee. Former producer/performer-The Tempest Ladies (The Taming of the Shrew, A Midsummer Night's Dream). Off-Broadway producer/performer (Sammy's Bowery Follies, Dog Sees God). Producer/performer (Paulette Goddard) Hannah, Can You Hear Me? - Best Arts Film, Cannes Festival. Director-The One And Only Amanda Palmer... Served on the Board of Directors for The League of Professional Theatre Women.Byron C. Saunders (Joseph Jefferson) Arts Management Consultant /Actor / Director / Producer / Dramaturge / Historian / Radio Talk-Show Personality / Civil RightsAdvocate. Byron's highlights and many credits currently include working as an independent ArtsManagement Consultant helping artists and arts organizations with grants administration, funddevelopment, marketing, public relations, event planning, and capacity growth and management. Beth Griffith (Announcer) Beth has performed with HERE Art Center, LaMaMa, NYTW, New Ohio Theatre, New York City Opera, International WOW, Clubbed Thumb, New Georges,Medicine Show Theatre, Theater For The New City, New York Workshop Theater, Ars Nova's Makers Lab, Music We'd Like to Hear (London), Sachiyo Ito's DanceJapan and The Flea. Upcoming performances with: The Hearth, Crossways Theatre, Broadway Bound Festival and Out of the Box Theater.

By Jeff Dunne Reindeer Trouble: Poor Dwinky the Elf is having trouble with his reindeer, which seems to have taken a time out on account of something that looks suspiciously like death. Pinkle, a service-elf from Rudolph's Reindeer Repair, has come to check out the situation, but is not able to provide much help.WITHIN THE RAINBy Jeff DunneWithin The Rain: When looking at the places between and within the rain, Samantha has found something rather unexpected… and utterly spectacular.Jeff Dunne began writing plays actively in 2017, and has since created over one hundred and fifty scripts, the majority for stage but some for screen and radio as well. His works have won numerous awards and festivals, and been seen on-stage and in film productions across the U.S., Canada, the U.K., and Asia. You can learn more about Jeff's works by visiting www.bearcreations.org.Jak Prince – Jakjakprince3@gmail.comJak began his acting career at age 6 as a lion in the first grade play Since then he has been in over 150 plays as a lead or featured actor in works ranging from Shakespeare, Shaw, Williams and Vidal. In recent years he has been an award winning scenic and lighting designer Carrie Wesolowski – Samanthacarrieawesolowski@gmail.comCarrie Wesolowski - Born and raised in NYC, Carrie is an Actor/Director, Host and Singer whose credits span film, theatre, television and now Zoom. Carrie was the female lead Actor and Director of Coni Koepfinger's SIMON SAYS-- a finalist for the 1st Annual Playbill Virtual Theater Festival 2020. Carrie's most recent credits include directing the opera The Bird Lady at The National Opera Center.and upcoming projects include a supporting role as Helen Hayes, in Coni Koepfinger's Live From The Bardo: My Dinner With Mary during a 2-week run in January 2022 at Theatre for the New City in NYC directed by the legendary Dan Carter.Byron C. Saunders - Stage Directions and Co-host / Narratorbyroncsaunders2020@aol.com Arts Management Consultant / Actor / Director / Producer / Dramaturge / Historian / Radio Talk-Show Personality / Civil Rights ActivistByron's highlight's and many credits currently include working as an independent Arts Management Consultant helping artists and arts organizations with grants administration, fund development, marketing, public relations, event planning, and capacity growth and development.Jacqueline Youm – Dwinkyjy9023a@student.american.eduJacqueline Youm is a Senegalese American actor, lawyer, and French|English|Spanish teacher. She also teaches mediation and negotiation. She thanks her family & friends for continuously listening to her acting screams and tears. Since the pandemic has started, she has produced, directed, and acted in a myriad of plays and monologues, which you can watch here: https://www.youtube.com/watch?v=BMP7Wn5hXuo… Marina Chan – Pinklemrc2195@columbia.eduMarina is a Brooklyn-based performer, playwright and producer. During Covid, she's performed in numerous Zoom readings and productions, including three of her own plays: Elizabeth's Wonderland, Tomorrow, And Tomorrow, And Tomorrow, and Two Lovers, which was produced by AirPlay! She has also conceived and produced the Asian Americans in Theatre: Art and Activism series at Asia Society and Barnard.Padmini Sukumaran – Susiepadmini.sukumaran@gmail.com

Why is it important to find new ways to create and where do we find inspiration to try new things? This is one of the many topics I covered with this week's guest, Composer Eimi TanakaWe also discuss Eimi's jazz background and its influence on her work, her process for developing themes, and the contrast between composing for television and creating a concert work.Full Transcript.Topics Covered:Where Composing StartsComposing with a Performer in MindDeveloping Themes for a PieceExploring New Techniques and Finding InspirationEimi's Jazz Background and InfluenceBalancing Traditions of Classical Music with Something NewThe Difference in Composing for Film and TelevisionHow Long it Takes to Compose a PieceWorking on Multiple Projects at OnceWorking with Handwritten NotesTeaching Piano and CompositionConnecting with MusicStaying Inspired and Seeing the Big PictureLinks:Eimi Tanaka's Website: www.tanakastudiosnyc.comClip of Shifting Pieces by Eimi TanakaPerformed by: Mavis Pan, pianoRecorded at the National Opera Center's Scorca Hall, NYC, on Oct 31, 2021.Cause of Craft: causeofcraft.comJon's Website: jontilton.comSupport the show: shop.jontilton.comFollow Jon on Instagram @jontilton and follow the show @causeofcraft.More about Eimi:Eimi Tanaka is a freelance composer, pianist, and teacher based in New York City. She started classical studies on the piano at age 8, and then during high school attended at the Mannes College of Music preparatory division with a scholarship. There she studied with pianist Deborah Jamini, as well as classical theory, composition, and chamber music with other world-renowned faculty in New York City. During her senior year of high school, she discovered jazz and began studying improvisation. She attended the Berklee College of Music in Boston for a bachelors degree in piano and music business, and received her masters in jazz studies and composition at New York University with the Steinhardt Graduate Scholarship. In Boston and New York, she has studied with world-renowned faculty such as Joanne Brackeen, Frank Carlberg, Jean-Michel Pilc, Gil Goldstein, Ralph Alessi, Wayne Krantz, and George Garzone, among many others. She has performed in many venues in the Boston and New York City areas, as well as in Florence and Sienna, Italy, through NYU's jazz studies program and Florence's jazz festival.Before attending NYU's master's program, Eimi has worked in various branches of the music industry, including concert production, record labels, and publicity, and worked in well-known companies such as Universal Music Group and Warner Music Group.As a composer, she has created original music for her own jazz trio, scores for short films which have played in festivals in New York and abroad, production music for television shows which are currently in syndication on CBS and the CW networks, and also classical compositions which have been performed by various groups in NYC.

Phil Chippenputt, egotistical resident golf pro, is murdered, and the suspects at the East Dogbreath Hills Country Club are certainly plentiful. Was it the club's owner Wilson Irons, who's grown tired of Phil's constant philandering with his wife Taylor? Was it the Club's groundskeeper Reg Greene? Or has Millie Driver, his long-suffering Caddy, finally decided to get some of her own back? Follow the clues and enjoy the laughs as the mystery unfolds before you in a raucous evening of fun!David Dietz III (Playwright/Wilson Irons) David Dietz is an award-winning actor, stage/screen writer, filmmaker, and audiobook producer-narrator. He has pounded the boards in productions ranging from Shakespeare to Simon (Neil, that is), and appeared in such films as End Game, Strange Girls, and Death from Above. In 2012, he wrote, produced, directed, and starred in Indemnity (aka Indemnity: Rage of A jealous Vampire). For more information, please visit http://dietzthethird.com or http://zd3-productions.comCarrie Wesolowski (Director/Taylor Irons) Born and raised in NYC, Carrie Wesolowski is a NYC-based Actor, Director, Host, and Singer who is a film, television, theatre and now Zoom actor. Carrie was the female lead Actor and Director of SIMON SAYS-- a finalist for the 1st Annual Playbill Virtual Theater Festival 2020. Her work as Director/Actor in Coni Koepfinger's The Unusual Chauncey Faust was most recently seen in Manhattan Rep's Stories Film Festival. Upcoming projects include directing The Bird Lady at The National Opera Center. Beth Griffith (Millie Driver) Beth Griffith (Mom) Beth Griffith has performed with HERE Art Center, LaMaMa, NYTW, New Ohio Theatre, New York City Opera, International WOW, Clubbed Thumb, New Georges, Medicine Show Theatre, Theater For The New City, New York Workshop Theater, Ars Nova's Makers Lab, Music We'd Like to Hear (London), Sachiyo Ito's DanceJapan and The Flea. Upcoming performances with: The Hearth, Crossways Theatre, Broadway Bound Festival and Out of the Box Theater.Larry Parker (Phil Chippenputt) Larry is a graduate of Columbia University where he graduated Summa Cum Laude with a BA in Theatre Arts. He performs in local theatre and can be found auditioning and working in commercials and television. Before acting, Larry served as a United States Reconnaissance Marine, a NYC firefighter, and competed as a USA All-American Ironman Tri-Athlete.James Jerome (Reg Greene) An actor, stage manager, and writer James got his start in Pittsburgh; then continued in New York working as an actor on stage, television and film. He studied at the HB Studio with Uta Hagen. Currently he is wrighting his first full-length play.Matt Matthews (Narrator) Matt Matthews (Narrator) immigrated to California from Texas many years ago. He is an actor, singer, theatre director, choral director, and voice for hire. Recent Zoom projects include Dermalogic, as Stansfield, and Yellow Ribbons, as director. Some favorite roles: Marley's Ghost in A Christmas Carol and Gremio in Taming of the Shrew.

Show Synopsis: Dad teaches his daughter lessons from the woods.Trish Ayers (Playwright) Trish Ayers is an award winning playwright with play readings and productions across the United States and Japan including at Live Girls!, Hedgerow Theatre, Iowa State University, Berea College, and Manhattan Theatre Source. She is resident playwright for Mountain Spirit Puppets and has received three Kentucky Foundation for Women (KFW) grants and was honored to be the recipient of the 2011 Sallie Bingham Award from KFW. She was the founder of Kentucky Women Playwrights Seminar, a ten-year playwriting project.Carrie Wesolowski (Director/Cindi) Born and raised in NYC, Carrie Wesolowski is a NYC-based Actor, Director, Host, and Singer who is a seasoned film, television, theatre and now Zoom actor. Carrie was the female lead Actor and Director of SIMON SAYS-- a finalist for the 1st Annual Playbill Virtual Theater Festival 2020. Her work as Director/Actor in Coni Koepfinger's The Unusual Chauncey Faust was most recently seen as a finalist in Manhattan Rep's STORIES Film Festival. Upcoming projects include directing The Bird Lady at The National Opera Center. David Dietz (Dad) David Dietz is an award-winning actor, stage/screen writer, filmmaker, and audiobook producer-narrator. He has pounded the boards in productions ranging from Shakespeare to Simon (Neil, that is), and appeared in such films as End Game, Strange Girls, and Death from Above. In 2012, he wrote, produced, directed, and starred in Indemnity (aka Indemnity: Rage of a Jealous Vampire). His audiobook narration credits include My Stupid Girl, Words with My Father, and Halfskin. For more information, please visit http://dietzthethird.com or http://zd3-productions.comBeth Griffith (Mom) Beth Griffith has performed with HERE Art Center, LaMaMa, NYTW, New Ohio Theatre, New York City Opera, International WOW, Clubbed Thumb, New Georges, Medicine Show Theatre, Theater For The New City, New York Workshop Theater, Ars Nova's Makers Lab, Music We'd Like to Hear (London), Sachiyo Ito's DanceJapan and The Flea. Upcoming performances with: The Hearth, Crossways Theatre, Broadway Bound Festival and Out of the Box Theater.Byron C. Saunders (Narrator/Co-Host) Byron C. Saunders - Arts Management Consultant / Actor / Director / Producer / Dramaturge / Historian / Radio Talk-Show Personality / Civil Rights Advocate. Byron's highlights and many credits currently include working as an independent Arts Management Consultant helping artists and arts organizations with grants administration, fund development, marketing, public relations, event planning, and capacity growth and development.

Tonight's AirPlay'21 we will doing a little experiment with a scene from Coni Koepfinger's play, CandleDancing. Reading will be Byron C Saunders and Carrie WesolowskiBios: Playwright: Coni Koepfinger, a 2021 recipient of the Olwen Wymark Award by the Writer's Guild of Great Britain, is currently playwright-in-residence at both Manhattan Rep and Cosmic Orchid and has worked with several other notable NYC companies such as Theatre for the New City, The Secret Theatre, the New York Unfringed Fest, Broadway Bound Festival and Pan Asian Rep. She has connected hundreds through her virtual programs Airplay and Determined Women. She is a member of the Dramatist Guild, a former board member of the International Centre for Women Playwrights (ICWP) and a chair for the League Professional Theatre Women (LPTW) and currently sits as Media Advisory Board of the Lifeboat Foundation. A prolific indie artist, Coni's work has been published and produced all over the globe.Actor: Byron C. Saunders - Arts Management Consultant / Actor / Director / Producer / Dramaturge / Historian / Radio Talk-Show Personality / Civil Rights AdvocateByron's highlight's and many credits currently include working as an independent Arts Management Consultant helping artists and arts organizations with grants administration, fund development, marketing, public relations, event planning, and capacity growth and development.Actor: Carrie Wesolowski (Narrator/Co-Host) Born and raised in NYC, Carrie Wesolowski is a NYC-based Actor, Director, Host, and Singer who is a seasoned film, television, theatre and now Zoom actor. Carrie studied acting with Michael Harney, Phil Gushee and Joe Anania. Carrie hosted Movie Talk Show from 2014-2018 and served as its Associate Producer, giving indie actors, writers, and directors a platform for their work. Carrie is thrilled to once again be a finalist in Manhattan Rep's Stories Film Festival. Her work as Director/Actor in Coni Koepfinger's The Unusual Chauncey Faust was most recently seen as part of Manhattan Rep's STORIES Film Festival. Upcoming projects include directing The Bird Lady at The National Opera Center. It's always such a joy for Carrie co-hosting, directing, and acting on AirPlay.

Opera has a bad rap: it's stuffy, long, convoluted, expensive, weird … and at the end of the day, who really understands sung Italian anyway? The barriers aren’t just financial: there are hundreds of years of musical history at work, along with dozens of arcane terms that defy pronunciation. But opera has been loved by ardent fans for centuries, and the experience of seeing it—once you know what to listen for—can be sublime. So we asked Vivien Schweitzer, a former classical music and opera critic for The New York Times, to teach us how to listen to opera. This episode originally aired in November 2018.Go beyond the episode:Read Vivien Schweitzer’s A Mad Love: An Introduction to OperaCatch a free nightly stream of a Metropolitan Opera productionListen to the accompanying Spotify playlistReady? Find an opera performance near you by searching the National Opera Center of America’s database of upcoming offeringsListen to the Metropolitan Opera’s Saturday Matinee Broadcasts or catch it live in a movie theater near youAt The Guardian, Imogen Tilde explains “How to find cheap opera tickets”Songs sampled during the episode:“Possente spirito,” the first famous aria in opera, from Monteverdi’s Orfeo“Pur te miro,” the first important duet in opera, from Monteverdi’s L’incoronazione di Poppea“Svegliatevi nel core,” an example of da capo aria and a rage aria, from Handel’s Giulio CesareThe Queen of the Night’s first-act aria, an example of very high soprano notes, from Mozart’s Die Zauberflöte“O Isis und Osiris,” an example of very low bass notes from the same opera“Ah! mes amis, quel jour de fête!” an example of very high tenor notes, from Donizetti’s La fille du régiment“Casta diva,” an example of bel canto style of singing, from Bellini’s Norma“Bella figlia dell’amore,” an example of ensemble singing from Verdi’s RigolettoThe...  See acast.com/privacy for privacy and opt-out information.

Opera has a bad rap: it's stuffy, long, convoluted, expensive, weird … and at the end of the day, who really understands sung Italian anyway? The barriers aren’t just financial: there are hundreds of years of musical history at work, along with dozens of arcane terms that defy pronunciation. But opera has been loved by ardent fans for centuries, and the experience of seeing it—once you know what to listen for—can be sublime. So we asked Vivien Schweitzer, a former classical music and opera critic for The New York Times, to teach us how to listen to opera. This episode originally aired in November 2018.Go beyond the episode:Read Vivien Schweitzer’s A Mad Love: An Introduction to OperaCatch a free nightly stream of a Metropolitan Opera productionListen to the accompanying Spotify playlistReady? Find an opera performance near you by searching the National Opera Center of America’s database of upcoming offeringsListen to the Metropolitan Opera’s Saturday Matinee Broadcasts or catch it live in a movie theater near youAt The Guardian, Imogen Tilde explains “How to find cheap opera tickets”Songs sampled during the episode:“Possente spirito,” the first famous aria in opera, from Monteverdi’s Orfeo“Pur te miro,” the first important duet in opera, from Monteverdi’s L’incoronazione di Poppea“Svegliatevi nel core,” an example of da capo aria and a rage aria, from Handel’s Giulio CesareThe Queen of the Night’s first-act aria, an example of very high soprano notes, from Mozart’s Die Zauberflöte“O Isis und Osiris,” an example of very low bass notes from the same opera“Ah! mes amis, quel jour de fête!” an example of very high tenor notes, from Donizetti’s La fille du régiment“Casta diva,” an example of bel canto style of singing, from Bellini’s Norma“Bella figlia dell’amore,” an example of ensemble singing from Verdi’s RigolettoThe... See acast.com/privacy for privacy and opt-out information.

Opera has a bad rap: it's stuffy, long, convoluted, expensive, weird … and at the end of the day, who really understands sung Italian anyway? The barriers aren’t just financial: there are hundreds of years of musical history at work, along with dozens of arcane terms that defy pronunciation. But opera has been loved by ardent fans for centuries, and the experience of seeing it—once you know what to listen for—can be sublime. So we asked Vivien Schweitzer, a former classical music and opera critic for The New York Times, to teach us how to listen to opera.Go beyond the episode:Read Vivien Schweitzer’s A Mad Love: An Introduction to OperaListen to the accompanying Spotify playlistReady? Find an opera performance near you by searching the National Opera Center of America’s database of upcoming offeringsListen to the Metropolitan Opera’s Saturday Matinee Broadcasts or catch it live in a movie theater near youAt The Guardian, Imogen Tilde explains “How to find cheap opera tickets”Songs sampled during the episode:“Possente spirito,” the first famous aria in opera, from Monteverdi’s Orfeo“Pur te miro,” the first important duet in opera, from Monteverdi’s L’incoronazione di Poppea“Svegliatevi nel core,” an example of da capo aria and a rage aria, from Handel’s Giulio CesareThe Queen of the Night’s first-act aria, an example of very high soprano notes, from Mozart’s Die Zauberflöte“O Isis und Osiris,” an example of very low bass notes from the same opera“Ah! mes amis, quel jour de fête!” an example of very high tenor notes, from Donizetti’s La fille du régiment“Casta diva,” an example of bel canto style of singing, from Bellini’s Norma“Bella figlia dell’amore,” an example of ensemble singing from Verdi’s RigolettoThe infamous Tristan chord from the prelude to Wagner’s Tristan and Isolde (and here is the resolution of the chord, hours later)For a taste of contemporary opera's eclecticism, here are three examples:

Opera has a bad rap: it's stuffy, long, convoluted, expensive, weird … and at the end of the day, who really understands sung Italian anyway? The barriers aren’t just financial: there are hundreds of years of musical history at work, along with dozens of arcane terms that defy pronunciation. But opera has been loved by ardent fans for centuries, and the experience of seeing it—once you know what to listen for—can be sublime. So we asked Vivien Schweitzer, a former classical music and opera critic for The New York Times, to teach us how to listen to opera.Go beyond the episode:Read Vivien Schweitzer’s A Mad Love: An Introduction to OperaListen to the accompanying Spotify playlistReady? Find an opera performance near you by searching the National Opera Center of America’s database of upcoming offeringsListen to the Metropolitan Opera’s Saturday Matinee Broadcasts or catch it live in a movie theater near youAt The Guardian, Imogen Tilde explains “How to find cheap opera tickets”Songs sampled during the episode:“Possente spirito,” the first famous aria in opera, from Monteverdi’s Orfeo“Pur te miro,” the first important duet in opera, from Monteverdi’s L’incoronazione di Poppea“Svegliatevi nel core,” an example of da capo aria and a rage aria, from Handel’s Giulio CesareThe Queen of the Night’s first-act aria, an example of very high soprano notes, from Mozart’s Die Zauberflöte“O Isis und Osiris,” an example of very low bass notes from the same opera“Ah! mes amis, quel jour de fête!” an example of very high tenor notes, from Donizetti’s La fille du régiment“Casta diva,” an example of bel canto style of singing, from Bellini’s Norma“Bella figlia dell’amore,” an example of ensemble singing from Verdi’s RigolettoThe infamous Tristan chord from the prelude to Wagner’s Tristan and Isolde (and here is the resolution of the chord, hours later)For a taste of contemporary opera's eclecticism, here are three examples:

American Lyric Theater is the only company in the U.S. offering extensive, full-time mentorship for emerging operatic writers. Producing Artistic Director Larry Edelson previews The Living Libretto: Opera in Eden, a first look at three new one act operas, premiering at the National Opera Center. For more visit, altnyc.org

American Lyric Theater is the only company in the U.S. offering extensive, full-time mentorship for emerging operatic writers. Producing Artistic Director Larry Edelson previews The Living Libretto: Opera in Eden, a first look at three new one act operas, premiering at the National Opera Center. For more visit, altnyc.org

American Lyric Theater is the only company in the U.S. offering extensive, full-time mentorship for emerging operatic writers. Producing Artistic Director Larry Edelson previews The Living Libretto: Opera in Eden, a first look at three new one act operas, premiering at the National Opera Center. For more visit, altnyc.org

Pamela Stein Lynde is a busy person. She is a singer, composer, producer, and music educator. She began her career as a classically trained singer but as the years went on she realized that her abilities were applicable in other areas. We go into detail about the journey of her career and how she was able to create two non-profits that help musicians, composers, and singers. MEET PAMELA STEIN LYNDE Praised for her “rich dramatics” (The Boston Globe), Pamela Stein Lynde is a versatile soprano, composer, contemporary music performer, music educator, and producer, known for inspiration, introspection, and passion in all aspects of her work. Recent performances have included premiering Lesley Flanigan’s haunting sound sculpture VOICES for four singers and loop pedals at Roulette; premiering New York-based composer Eric Lemmon’s The Impossible Will Take a Little While with the Highline Chamber Ensemble at the DiMenna Center for Classical Music; and performing a concert of chamber music by contemporary female composers, including a premier by Philadelphia-based composer Jenny Beck, at the National Opera Center. The 2015 launch of her company Stone Mason Projects has brought exciting performances of contemporary vocal chamber music to the National Opera Center, Arts on Site, Wilmer Jennings Gallery, and multiple other venues across the ti-state area, about which reviews have said, “The singing was stellar, on par with anything I’ve heard recently at higher profile venues such as Zankel Hall or National Sawdust. These concerts deserve a wider audience.” In the fall of 2016, Stone Mason Projects released its first music video, From the Mountain, a co-production with Contemporary Undercurrent of Song Project. Stone Mason’s upcoming endeavors include the commissioning and producing of a new chamber opera and the launch of the inaugural New Hope Sound(e)scape Festival in New Hope, PA in June of 2017. Stone Mason Projects has appeared on a panel discussing contemporary opera creation with will New York Opera Alliance during New York Opera Festival and will be presenting this May at the third annual New Music Gathering conference at Bowling Green State University in Ohio. Pamela has appeared as a singer in prior seasons with Helix New Music Ensemble, The Nouveau Classical Project, American Opera Projects, Beth Morrison Projects, Rhymes With Opera, Saratoga Fine Arts Festival, Yamaha Concert Artist Series, Yale’s New Music, New Haven series, and many others. She has worked with award-winning composers including David Lang, Tristan Perich, Jacob Cooper, Trevor Weston, Daniel Felsenfeld, Lisa Bielawa, Jenny Beck, and many others. She appears as a vocalist on minimalist composer Alexander Turnquist’s album Flying Fantasy, released on the Western Vinyl label. She was a featured guest composer at Phoenix’s OME New Music Marathon concert in 2015 and has had her compositions premiered by Patchwork American Song Project in both New York and Chicago, Guided Imagery Opera, Princeton-based group CUSP, and many other ensembles across the country. Pamela has taught voice, composition, music theory, vocal pedagogy, music history, performance practice and chamber music at the College of Saint Elizabeth, Rutgers University’s Mason Gross School of the Arts, and City College of New York. Pamela teaches masterclasses and workshops and gives lectures on creating new music for voice at colleges, universities, and conservatories around the country. She was invited to speak about teaching new music in higher education at the inaugural New Music Gathering conference at the San Francisco Conservatory of Music. Her organization Your Music Bus, co-founded with superstar composers Lisa Bielawa and Aaron Jay Kernis, has been serving the needs of the university and conservatory composition students and departments across the country since 2014. CONTACT: www.pamelasteinlynde.com (http://www.pamelasteinlynde.com)...

Guest Bio: Leah Fisch is the Principal of Joumor, LLC. She provides consulting and project management for industries including: finance, real estate, agriculture, media, and healthcare. Leah has worked with dozens of CEO’s, entrepreneurs, and employees all over the US and internationally to reduce anxiety and overwhelm and improve productivity. She specializes in women’s leadership as well as professionals with ADD and other anxiety disorders which interfere with top performance. In addition, Leah has helped multiple clients create businesses and non-profits, overseeing the creation of the business’s model, putting contracts and regulations in place, and supporting the development of the hiring process. After doing professional organizing for nearly 4 years, she moved to London in 2005 and received an MSC in Demography from London School of Hygiene and Tropical Medicine while volunteering as Event Coordinator at the Population and Sustainability Network. Upon her return to the US she became certified in Levels I and II of Narrative Therapy, a deconstructionist talk therapy, at the Family Therapy Center in Evanston, IL. She incorporates some of these skills in helping her clients articulate their goals and better understand their difficulties in reaching them. Leah hosted The Foyer, the only call-in talk radio show about organization in the nation, on WOR radio in NYC. She founded Joumor, her third business, in 2012 and has been expanding the reach of clients and students through products such as Joumor’s Reorganize Yourself Kit and Spotlight, and programs such as CEO Rise, Productivity For YOUR Brain, and The Game of Time. She has taught Joumor’s methodology to the public in private venues such as We Work and the National Opera Center as well as in academia at John Jay College and Baruch College in NYC. Leah is a founding member of Green City Challenge, a non-profit that promotes green living in urban areas, and served 2 years as President of her business networking Chapter. She speaks several languages. Leah lives in Manhattan, NY. Specialties: Infrastructure analysis and growth Project management organization Value alignment Space and time management Personal daily productivity Career networking In this particular episode, you will learn: How Leah helps clients reorganize their lives from the inside out A technique for dealing with procrastination that involves Russion nesting dolls Easy hacks to find greater success Resources mentioned in this episode: http://joumor.com/ Transcript (edited for length and clarity): (Transcript for this episode available only to select private program members)

On February 6, 2015, SDCF held a One-on-One discussion with directors Anne Bogart and Lear deBessonet at New York’s National Opera Center. Throughout this brief conversation between mentor and mentee, community, collaboration, and inclusivity are listed as core values for a director, which are illustrated through some of their respective career highlights. Additional topics discussed include rehearsal techniques and methods for preparation; the relationship between actors and audiences; what it’s like to empower and create theatre with people who don’t self-identify as artists; the various responsibilities that directors possess; and how approaches and performance styles on stage vary from film and television.

On March 24, 2014, director Sean Mathias and designer Derek McLane sat down for a One-on-One coversation at New York’s National Opera Center. Listen as they discuss the collaborative exchange between directors and designers while detailing many of their individual styles and techniques. 

On April 29, 2014, director Anne Bogart moderated a One-on-One discussion with directors Bartlett Sher and Julie Taymor at New York’s National Opera Center. Listen as they discuss their respective backgrounds, training, and inspirations.