Podcasts about operawire

Sophia Lambton is an English-Russian-Jewish writer who has been a professional classical music critic since the age of 17. Beginning her career at Britain's oldest classical music magazine, Musical Opinion, she has contributed to The Guardian, Bachtrack, MusicOMH, BroadwayWorld, BBC Music Magazine, and Operawire. In 2019, she completed her first literary saga THE CROOKED LITTLE PIECES. The series has been published since May 2022. Volume 4 has recently been released. She also spent 12 years profoundly researching THE CALLAS IMPRINT: A CENTENNIAL BIOGRAPHY, which came out to coincide with Maria Callas' 100th birthday last year. I had the great pleasure of speaking with her about a lot of this, the upcoming biographical film, MARIA, and more. *I do not own any of the content used in this podcast. Follow Sophia Lambton on Instagram: @thecrepuscularpress If you love this show, please leave us a review. Go to ⁠⁠⁠RateThisPodcast.com/karereviewspodcast⁠⁠⁠ and follow the simple instructions. Follow Kare Reviews at ⁠⁠⁠www.karereviews.net⁠⁠⁠ and on Twitter: ⁠⁠⁠@KareReviews⁠⁠⁠ Also please visit the newly launched Patreon page:⁠⁠⁠ https://www.patreon.com/jeffreykare?fan_landing=true⁠⁠⁠ Follow Jeffrey Kare on Twitter:⁠⁠⁠ @JeffreyKare⁠⁠⁠ If you like what you've heard here, please subscribe to any one of the following places where the Kare Reviews Podcast is available. ⁠⁠Anchor⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Google⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Breaker⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Overcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠Pocket Casts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠RadioPublic --- Support this podcast: https://podcasters.spotify.com/pod/show/jeffrey-kare/support

Well, 3CG-ers, that foray into watching films in color was short-lived.  We're going back to black (and white) with a 1941 classic, and we'll give you one guess as to who picked this one.  Our old-soul-black-and-white-morality-raised-on-the-classics millennial, Hannah, picked our second movie for November and what is arguably one of the greatest films ever made, “Citizen Kane”. Orson Welles wrote, directed, and starred in this classic 2-hour epic that much like “Halloween”, breathed a gasp of fresh air into modern-day cinema.  Funnily enough, it took us about 2-hours to discuss this masterpiece, but don't worry, unlike certain past episodes (“They Live” looking at you), we actually discuss the film. We know you guys like it when we steer away from political discussions and talk about the movie, but when the flashback-laden narrative shows how an aging publishing tycoon lived his life through corruption and political intrigue, it's hard not to steer into the present, and draw direct correlations to current and historical figures.  You'll want to skip this episode if you are not a fan of the G&H show as the two of them discuss the beauty of this film in great detail, while the rest of the boys struggle to keep up.  Poor Matt always gets a little foggy when things are in black and white, and Terry, coming off a long drive from an overnight set, didn't have enough C-4 in his system to fuel his smart-ass, inappropriate remarks. Is this the episode with Terry's lowest word count? Will Matt ever learn to appreciate black-and-white films? What did Garrett say to Hannah that had her refuse to speak? Will she ever forgive him? You'll have to listen to find out. Show notes/CW This episode contains/mentions the following: Suicide, Child abuse, Sexual assault, Violence against women, and Sex work.  References Citizen Kane - Bechdel Test Movie List. Bechdel Test Movie List. (n.d.). Retrieved November 12, 2022, from https://bechdeltest.com/view/1266/citizen_kane/  Citizen kane movie review. Common Sense Media. (n.d.). Retrieved November 12, 2022, from https://www.commonsensemedia.org/movie-reviews/citizen-kane  Citizen Kane. Rotten Tomatoes. (n.d.). Retrieved November 12, 2022, from https://www.rottentomatoes.com/m/citizen_kane  IMDb.com. (n.d.). Citizen Kane. IMDb. Retrieved November 12, 2022, from https://www.imdb.com/title/tt0033467/trivia/?ref_=tt_trv_trv  Scott, S. (2021, July 26). The untold truth of citizen Kane. Looper. Retrieved November 12, 2022, from https://www.looper.com/283570/the-untold-truth-of-citizen-kane/  Wikimedia Foundation. (2022, July 18). Mercury theatre. Wikipedia. Retrieved November 12, 2022, from https://en.wikipedia.org/wiki/Mercury_Theatre#Citizen_Kane_(1941)  SparkNotes. (n.d.). Symbols. Sparknotes. Retrieved November 12, 2022, from https://www.sparknotes.com/film/citizenkane/symbols/  Scripts, I. (2022, August 30). What's so good about the citizen kane ending? Industrial Scripts®. Retrieved November 12, 2022, from https://industrialscripts.com/citizen-kane-ending/  Seibold, W. (2021, November 12). Citizen Kane Ending explained. /Film. Retrieved November 12, 2022, from https://www.slashfilm.com/660149/citizen-kane-ending-explained/  Film analysis: Orson Welles 'Rob Kane' - Coward Kane. Film Analysis: Orson Welles 'Rob Kane'. (n.d.). Retrieved November 12, 2022, from https://www.123helpme.com/essay/Film-Analysis-Orson-Welles-Rob-Kane-537278  Essay on symbolism in citizen Kane. (n.d.). Retrieved November 12, 2022, from https://www.ipl.org/essay/Essay-On-Symbolism-In-Citizen-Kane-PJPCH66WVZV  Aguilar, A. L. (2011, September 1). Symbolism and motifs in citizen Kane. historyofhistoryonfilm. Retrieved November 12, 2022, from https://historyofhistoryonfilm.wordpress.com/2011/09/01/symbolism-and-motifs-in-citizen-kane/  Eberle, S. G. (2012, October 4). The real puzzle in citizen Kane. Psychology Today. Retrieved November 12, 2022, from https://www.psychologytoday.com/us/blog/play-in-mind/201210/the-real-puzzle-in-citizen-kane  jaspergolfer, A. (2018, January 29). Citizen Kane: The Jigsaw Puzzle That Never Gets completed. Jasper Golfer. Retrieved November 11, 2022, from https://jaspergolfer.wordpress.com/2018/01/29/citizen-kane-the-jigsaw-puzzle-that-never-gets-completed/  SparkNotes. (n.d.). Important Quotes Explained: Citizen Kane. Sparknotes. Retrieved November 11, 2022, from https://www.sparknotes.com/film/citizenkane/quotes/page/5/#:~:text=As%20he%20walks%20through%20the,to%20put%20that%20puzzle%20together.  Salazar, D. (2018, May 23). Opera meets film: 'citizen Kane' creates an aria & reinterprets Rossini's 'il barbiere di siviglia'. OperaWire. Retrieved November 11, 2022, from https://operawire.com/opera-meets-film-citizen-kane-creates-an-aria-reinterprets-rossinis-il-barbiere-di-siviglia/#:~:text=Opera%20Meets%20Film%3A%20'Citizen%20Kane,Il%20Barbiere%20di%20Siviglia'%20%2D%20OperaWire  Therealfuster. (2004, December 28). Kane and the Cockatoo. TCM Message Boards. Retrieved November 11, 2022, from https://forums.tcm.com/topic/3610-kane-and-the-cockatoo/  Ten random observations about citizen Kane. White City Cinema. (2014, July 10). Retrieved November 11, 2022, from https://whitecitycinema.com/2014/07/07/10-observations-about-citizen-kane/  IxrecIxrec 1, & WaltWalt 99.3k99 gold badges324324 silver badges348348 bronze badges. (1964, March 1). What's with the "Cockatoo jump scare" in citizen Kane? Movies & TV Stack Exchange. Retrieved November 11, 2022, from https://movies.stackexchange.com/questions/65960/whats-with-the-cockatoo-jump-scare-in-citizen-kane  III, C. F. (n.d.). Yellow journalism. Yellow Journalism. Retrieved November 11, 2022, from https://www.mtsu.edu/first-amendment/article/1253/yellow-journalism#:~:text=Yellow%20journalism%20marked%20by%20sensationalist,the%20creation%20of%20yellow%20journalism.  Scheuer, J. (2014). Examples of Fragmentation as Motif in Citizen Kane. 2014 Unit 4 Citizen Kane. Retrieved November 10, 2022, from https://www.filepicker.io/api/file/CJCEZVfmToOwtvJZN91l.  R/moviedetails - in citizen Kane (1941), a scene is interrupted with the sudden appearence and loud screech of a cockatoo. after much speculation from people on its symbolism, Orson Welles admitted that he put it in there to wake up any audience members who might be dozing off. reddit. (n.d.). Retrieved November 11, 2022, from https://www.reddit.com/r/MovieDetails/comments/m3i7jg/in_citizen_kane_1941_a_scene_is_interrupted_with/     

Welcome to Season 6 Episode 9 of Music Works. Today we have the honour of welcoming a very special guest: Claire Barnett-Jones, renowned mezzo soprano recently being named Operawire's Top 10 Rising Stars. In this episode, Claire will discuss the gender pay gap in opera and how the music industry would benefit from a more inclusive and diverse work environment. Read more about Claire here: http://www.clairebarnettjones.com/ If you enjoy this conversation, please subscribe, check out our other great episodes, and even better leave us a review. You can also follow us on social media and sign up to our mailing list at www.polyphonyarts.com/mailing-list for updates and news about Music Works and Polyphony Arts.

It's a been a long summer without you, dear Scorekeepers, but we're finally back with a new episode of THE SCORE! This week, we start with a conversation about what did on our summer vacations (0:00:53) before we have a chat about gender identity and transphobia in opera education, sparked by some brutal comments leaked from an Opera America listserv earlier this summer (0:29:06). We're then joined by MN Opera's brand new Youth Programs Music Director, Rick Hoops, who gives us some insight into our new educational offerings this fall and what they're doing to "de-gender" opera education and make opera a more inclusive art form for young artists (0:55:25). And, finally, despite the state of the world there is plenty of Black joy to be found! This week we celebrate the ladies of Abbot Elementary, Alexis Nikole Nelson, Mishael Morgan, Emilia Mettenbrink and you know you're not getting out of here without listening to us meltdown over Beyoncé's latest masterpiece, Renaissance (1:15:24)! Let's do it to it, y'all! (And for more information about auditioning for any of our education programs this fall, please visit http://www.mnopera.org/community (mnopera.org/community) or contact MN Opera's Creative Development Manager Fei Chen at ychen@mnopera.org!) Hosts: Lee Bynum, Rocky Jones, Paige Reynolds Guest: Rick Hoops Producer: Rocky Jones -- Links "UPDATED: Email Leaks Reveal Opera America's Professional Development Listserv Complaining About Young Artists' ‘Entitlement' & Pronouns" (https://operawire.com/email-leaks-reveal-opera-americas-professional-development-listserv-complaining-about-young-artists-entitlement-pronouns/ (OperaWire)) https://pronouns.org/ (Pronouns.org) https://www.genderbread.org/ (The Genderbread Person) https://diversity.iu.edu/doc/anti-racist/resources-articles-lit/White-Supremacy-Culture-Tema-Okun2.pdf ("White Supremacy") by Tema Okun -- New episodes of THE SCORE drop every other Monday. If you like what you hear, please support us and SUBSCRIBE to the show on your favorite podcast app and be sure to SHARE our show with your friends. Also, leaving a 5-star REVIEW on Apple Podcasts is a great way to help get the word out. For more info about the exciting EDI work happening at MN Opera, please visit https://mnopera.org/edi/ (mnopera.org/edi). Email your questions or comments to thescore@mnopera.org

Jacques Halevy's grand opera is the subject of this week's episode, and Anna and Krista rave about it. They also work in the usual shtick, and they give you an updates on that production of Tosca from Barcelona. And surprise - they actually agree with the OperaWire lady for once!

For Yom HaShoah, Anna and Krista drop some history on you this week with Viktor Ullmann's Der Kaiser von Atlantis. From its origins in a concentration camp to its many iterations today, it's a good building block for Holocaust education. They also rant about OperaWire's treatment of Russian artists and edit a glaring mistake on Wikipedia.

“Sparkling” mezzo-soprano Madison Marie McIntosh has been praised for her “wondrouslyflexible voice,” “prodigious vocal skills,” and “richly textured and strong lower register” (Vocedi Meche). OperaWire has praised her “vocal power,” “enchanting voice,” “velvety mezzosoprano,”and “abundant vocal and dramatic technique, with no shortage of soaring high notesand flexible roulades.” She won The American Prize in Vocal Performance in 2020 and thenperformed a benefit concert for The American Prize that featured world premieres of works by eight composers. Madison has performed Ernesta (Un avvertimento ai gelosi) at Caramoor, Delia (Il viaggio a Reims) with the Rossini Opera Festival in Pesaro, and Alto Soloist (Messiah) with New Amsterdam Opera. In 2022, she performed in concerts with Gulfshore Opera and will sing the title role in La Cenerentola with Fargo Moorhead Opera, the title role in Giulio Cesare with Connecticut Lyric Opera, and Francesca Da Ponte in the premiere of Da Ponte, by composer Roger Neill and librettist Neil Cohen. In 2021, she sang Beppe in Teatro Grattacielo's production of L'amico Fritz at the Phoenicia International Festival of the Voice, the Domme in Three Way with Fargo Moorhead Opera, Melissa in La liberazione di Ruggiero with Connecticut Lyric Opera, Ruggiero in Alter Ego Chamber Opera's production of Alcina REVAMPED at the Philadelphia Fringe Festival, and Lola Lowell in the virtual premiere of Theodore Christman's opera The Impresario and the Dueling Divas with Mo. Eve Queler. Madison has also performed Rosina (Il barbiere di Siviglia), the title role in Carmen, Isabella (L'Italiana in Algeri), Angelina (La Cenerentola), Cesare (Giulio Cesare in Egitto), Hansel (Hansel and Gretel), Dido (Dido and Aeneas), Sara (Roberto Devereux), Giovanna Seymour (Anna Bolena), Zerlina (Don Giovanni), and lead roles in the world premieres of six operas. She has premiered song cycles and other works by composers such as Peter Breiner, Paula Kimper, Roger Neill, Amy Scurria, Jeff Shankley, Myron Silberstein, Webster Young, and Paul Ayres. In 2019, she joined Eve Queler as a soloist in her 25th annual Bel Canto Opera Concert. She has been featured as a soloist in venues such as Weill Recital Hall at Carnegie Hall, Avery Fisher Hall, the Kravis Center for the Performing Arts, Bruno Walter Auditorium at Lincoln Center, Symphony Space, the DiMenna Center, and the Teatro Rossini. She covered the title role in Tancredi and sang the Eco in the inaugural season of Will Crutchfield's Teatro Nuovo. In 2019, she performed the role of Prinz Orlofsky (Die Fledermaus) at the Wiener Kammeroper as a result of winning First Prize in the Vienna Summer Music Festival Competition. She worked with the late Mo. Alberto Zedda as a young artist of the Accademia Rossiniana in 2014 and was an Apprentice Artist of Sarasota Opera in 2018. Last season, she was presented in a solo virtual concert in the Kravis Center's series Kravis @ Home. “Sparkling” mezzo-soprano Madison Marie McIntosh has been praised for her “wondrously flexible voice,” “prodigious vocal skills,” and “richly textured and strong lower register” (Voce di Meche). OperaWire has praised her “vocal power,” “enchanting voice,” “velvety mezzosoprano,”and “abundant vocal and dramatic technique, with no shortage of soaring high notesand flexible roulades.” She won The American Prize in Vocal Performance in 2020 and thenperformed a benefit concert for The American Prize that featured world premieres of works by eight composers. Madison has performed Ernesta (Un avvertimento ai gelosi) at Caramoor, Delia (Il viaggio a Reims) with the Rossini Opera Festival in Pesaro, and Alto Soloist (Messiah) with New Amsterdam Opera. In 2022, she performed in concerts with Gulfshore Opera and will sing the title role in La Cenerentola with Fargo Moorhead Opera, the title role in Giulio Cesare with Connecticut Lyric Opera, and Francesca Da Ponte in the premiere of Da Ponte, by composer Roger Neill and librettist Neil Cohen. In 2021, she sang Beppe in Teatro Grattacielo's production of L'amico Fritz at the Phoenicia International Festival of the Voice, the Domme in Three Way with Fargo Moorhead Opera, Melissa in La liberazione di Ruggiero with Connecticut Lyric Opera, Ruggiero in Alter Ego Chamber Opera's production of Alcina REVAMPED at the Philadelphia Fringe Festival, anLola Lowell in the virtual premiere of Theodore Christman's opera The Impresario and theDueling Divas with Mo. Eve Queler. Madison has also performed Rosina (Il barbiere di Siviglia), the title role in Carmen, Isabella (L'Italiana in Algeri), Angelina (La Cenerentola), Cesare (Giulio Cesare in Egitto), Hansel (Hansel and Gretel), Dido (Dido and Aeneas), Sara (Roberto Devereux), Giovanna Seymour (Anna Bolena), Zerlina (Don Giovanni), and lead roles in the world premieres of six operas. S has premiered song cycles and other works by composers such as Peter Breiner, Paula Kimper, Roger Neill, Amy Scurria, Jeff Shankley, Myron Silberstein, Webster Young, and Paul Ayres. In 2019, she joined Eve Queler as a soloist in her 25th annual Bel Canto Opera Concert. She has been featured as a soloist in venues such as Weill Recital Hall at Carnegie Hall, Avery Fisher Hall, the Kravis Center for the Performing Arts, Bruno Walter Auditorium at Lincoln Center, Symphony Space, the DiMenna Center, and the Teatro Rossini. She covered the title role in Tancredi and sang the Eco in the inaugural season of Will Crutchfield's Teatro Nuovo. In 2019, she performed the role of Prinz Orlofsky (Die Fledermaus) at the Wiener Kammeroper as a result of winning First Prize in the Vienna Summer Music Festival Competition. She worked with the late Mo. Alberto Zedda as a young artist of the Accademia Rossiniana in 2014 and was an Apprentice Artist of Sarasota Opera in 2018. Last season, she was presented in a solo virtual concert in the Kravis Center's series Kravis @ Home. She also sang in virtual events presented by Fort Worth Opera, Maryland Opera, and the Art Song Preservation Society of New York. She performed one of the 22 ariette by Vaccai in Will Crutchfield's video “Bel Canto in Thirty Minutes,” which also includes singers such as Lawrence Brownlee, Jennifer Rowley, Lisette Oropesa, Angela Meade, and Tamara Mumford. She later collaborated with Mo. Crutchfield on a recording for Teatro Nuovo's Bel Canto Collection. She performed one of the 22 ariette by Vaccai in Will Crutchfield's video “Bel Canto in Thirty Minutes,” which also includes singers such as Lawrence Brownlee, Jennifer Rowley, Lisette Oropesa, Angela Meade, and Tamara Mumford. She later collaborated with Mo. Crutchfield on a recording for Teatro Nuovo's Bel Canto Collection.

Frances Marshall began learning the piano at five years old, but was also captivated by copies of Vanity Fair around her house, which founded her love of music and the visual arts from a young age. At nineteen years old, she had a job as an usher at the National Concert Hall in Dublin, and persuaded her boss to let her backstage with her camera, giving her unique access to all the visiting artists. Soon, Frances was getting hired as a photographer, and went on to found Final Note, an online magazine tracing the journeys of artists and their paths to the top of the industry. Frances is now a photographer with OperaWire, and has co-founded the branding agency Marshall Light Studio with Sophie Light, creating bespoke branding, website design, portrait and stage photography for the world of classical music and opera. See Frances's work at http://francesmarshall.ie/

It’s the first episode of Season Six! Thanks to all of you who talked to us, donated to us and listened to us over the past five years... [@ 8 min] The OBS legion kick it off with a tag team interview when Oliver goes ‘Inside the Huddle’ with the founders and editors of OperaWire, brothers David and Francisco Salazar... [@ 46 min] The bracket is set. It’s Joyce DiDonato versus Benjamin Bernheim, and Julius Drake versus… Julius Drake? Find out who was nominated for a 2020 Classical Grammy, plus all your the headlines in the “Two Minute Drill”... www.operaboxscore.com www.facebook.com/obschi1 @operaboxscore IG operaboxscore

Within this episode Host Amanda Ortega has a remote interview with Opera singer and friend Eloisa Ferrer. This episode really explores a powerful latina making the most out of taking the road less traveled. This inspirational episode gives advice on getting that MFA by just going for it and learning more by experiencing more. You can follow Eloisa Ferrer on IG and to see her full cover video of "I Put A Spell On You" @eloisaferrer1982 You can follow me host Amanda Ortega on IG @manderz323 Check out Free Streaming of live Opera Performances at Operawire.com If you are in College and are about to take out a loan please check out Grant and Scholarship Programs! I am lucky to have received scholarships from FIU Theatre department and the Pell Grant (able to receive if you are age 24+) which saved me from the loan monster. Make sure to ask your advisor about possible University grants as well. Check out collegeofdistinction.com for a "mega list" of scholarship programs. Good luck and continue to purse those dreams!

OAD is back for Season 3! We're kicking things off in a big way with special guests, David and Francisco Salazar from OperaWire.com. In this episode, we talk about what productions and performances to look out for in North America in the upcoming opera season. Tune in for next week's episode where we take a look at exciting opera performances around the world.

Oliver plays ‘Monday Evening Quarterback’ on Orlando di Lasso’s “Lagrime di San Pietro” seen at Ravinia last week... the OperaWire website reports that soprano Elizabeth Blancke-Biggs was recently fired from Maryland Lyric Opera’s concert performances of Puccini’s “La Fanciulla del West” for standing up to abuse from the company’s music director. Our team tries to figure out what happened... In the ‘Two Minute Drill’, Kim Witman at Wolf Trap Opera Company has released her annual stats on what arias are sung first in auditions and WQXR writer Fred Plotkin has given out his biennial list of forty opera singers under forty that are worth looking out for. We’ll go through the lists... www.facebook.com/OBSCHI1/

Tonight, in 'Chalk Talk'... Our guest is Santosh Venkataraman, a frequent contributor to the OperaWire website. We talk with him about diversity in all parts of the American opera house, and we get him to play 'Monday Evening Quarterback' and review a show... Plus... Tenor Henry Pleas III joins us by phone to add to the conversation on diversity... Then… It’s the ‘Two Minute Drill’: everything you need to know from the past week in Operaland, and our hot takes on those stories... www.facebook.com/OBSCHI1/

Emily and Lidi chat with historical keyboardist and conductor Dylan Sauerwald about early music, collaboration, and the huge amount of music that is baroque opera. Plus, two new pieces you didn't know you needed to hear! Dylan Sauerwald is a distinctive historical keyboardist and conductor. At the keyboard, he has been praised for his “fleet fingers” and “sophisticated playing,” (Capriccio), and as a conductor, his productions have been called “heart-wrenching and self-reflecting” (OperaWire). As a recording artist, Mr. Sauerwald can be heard on the New Focus, Coro, and Urtext labels. A champion of early opera, he has led productions of rarely-performed works acclaimed as “refined and flexible,” (Boston Globe) “fearless,” (Voce di Meche) and “a remarkable musical experience” (OperaWire). He is in demand as a guest conductor, appearing with ensembles opera companies across the US and Canada. He holds degrees from McGill University and Boston University. Charpentier: David et Jonathas - https://www.youtube.com/watch?v=Si3yeJF-gnk Rameau: Les Boréades- https://www.youtube.com/watch?v=JlVsEnOpCao&t=6134s