Podcasts about Tessitura

I've got Andrew Recinos on the podcast today!  Andrew is the CEO of Tessitura.  He came to me with a great idea: we have our podcast conversation built around the ideas I share with folks in 'The Fans for Life' workshop.  We discussed ideas such as: Why Andrew enjoys my POV of looking at tickets through the gamut of tickets sold.  We discuss the idea of inspiration from outside of the world of arts.  Andrew shares where he finds his ideas from. Especially ethnography.  Innovation, creativity, and opportunity.  We hit on all kinds of great stuff!  This one is a lot of fun, actionable, and one I'm glad I got to have.  Let me know what you think.  Send me your thoughts at Dave@DaveWakeman.com  Check out Tessitura's website: www.tessitura.com Get my newsletters and keep up with me at www.DaveWakeman.com Rate, review, and share the podcast! Every little bit helps. 

In this episode of Monique on the Mic, we dive into why great singers often sing in the same key and how this impacts their vocal performance. Monique breaks down the importance of choosing the right songs and keys for your voice, likening it to selecting the perfect outfit—both must suit you! From understanding vocal range to tessitura, she shares tips on how singers can avoid vocal strain and achieve smooth transitions through their bridges. Plus, Monique reveals personal insights from her own singing journey and how key choice affected her vocal development. Tune in to find out if you're singing in the right key!RESOURCES:If you are enjoying the podcast, I think you'll enjoy my Mic Masters Newsletter. Get weekly insights, mindset changes, useable information and so much more for professional and aspiring singers. Join today. For more information on how to work with me, send inquiries to : info@moniquebthomas.comMusically,Monique

My guest today is Stephen Glicken from Project Admission.  You have heard from Stephen before, but I wanted to have a chat about what Project Admission has been working on... Including new areas of focus and big new partnership announcements.  This episode was delayed due to a personal situation. So the references to visiting them at the Tessitura conference in DC are outdated.  My bad.  You can get the 'Talking Tickets' newsletter: https://talkingtickets.substack.com The 'Business of Value': https://businessofvalue.substack.com My website at www.DaveWakeman.com  

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is  Kelly Molson, Founder of Rubber Cheese.Download the Rubber Cheese 2023 Visitor Attraction Website Report - the annual benchmark statistics for the attractions sector.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website rubbercheese.com/podcast.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned in this podcastCompetition ends on 29th March 2024. The winner will be contacted via Twitter. Show references: https://carbonsix.digital/https://www.linkedin.com/in/pmarden/Paul Marden is the Founder and Managing Director of Carbon Six Digital and the CEO of Rubber Cheese. He is an Umbraco Certified Master who likes to think outside the box, often coming up with creative technical solutions that clients didn't know were possible. Paul oversees business development and technical delivery, specialising in Microsoft technologies including Umbraco CMS, ASP.NET, C#, WebApi, and SQL Server. He's worked in the industry since 1999 and has vast experience of managing and delivering the technical architecture for both agencies and client side projects of all shapes and sizes. Paul is an advocate for solid project delivery and has a BCS Foundation Certificate in Agile. https://www.rubbercheese.com/https://www.linkedin.com/in/kellymolson/Kelly Molson is the Founder of Rubber Cheese, a user focused web design and development agency for the attraction sector. Digital partners to Eureka! The National Children's Museum, Pensthorpe, National Parks UK, Holkham, Visit Cambridge and The National Marine Aquarium.Kelly regularly delivers workshops and presentations on sector focused topics at national conferences and attraction sector organisations including ASVA, ALVA, The Ticketing Professionals Conference and the Museum + Heritage Show.As host of the popular Skip the Queue Podcast for people working in or working with visitor attractions, she speaks with inspiring industry experts who share their knowledge of what really makes an attraction successful.Recent trustee of The Museum of the Broads.  Transcription:   Kelly Molson: Welcome to Skip the Queue, a podcast for people working in or working with visitor attractions. I'm your host, Kelly Molson. In this new monthly slot, Rubber Cheese CEO Paul Marden joins me to discuss different digital related topics. In this episode, we're answering your questions from the 2023 Visitor Attraction Website Report, asking what more you'd like to see in this year's survey and sharing more on how you can get involved next time. If you like what you hear, you can subscribe on all the usual channels by searching Skip the Queue. Kelly Molson: Hello.Paul Marden: Well, hello.Kelly Molson: This is nice. So the two of us haven't been together for a podcast episode for a while.Paul Marden: It does feel like, well, happy new year to start with.Kelly Molson: Way too late for that malarkey. We've just been busy, haven't we've got lots of exciting projects that are coming to. Well, I don't like to say the end, but they're coming to point of launch.Paul Marden: The launch, yeah. The exciting bit.Kelly Molson: The very exciting bit. So we've all been pulled here, there and everywhere. So I've had lovely guests to speak to and you've had a little bit of a break from this. But we're back. We're back.Paul Marden: Absolutely.Kelly Molson: And we're going to start like we always do with these ones. With what attraction have you visited most recently and what did you love about it?Paul Marden: I have been to Mary Rose Museum and I went with a bunch of nine and ten year olds. We basically went down there for the Kids in Museums Takeover Day. It's one of the kind of showpiece Kids in Museums events that they run every year all around, putting the ownership of the museum into the hands of kids. I managed to wangle my way to Mary Rose, which is relatively close to me. And I took my daughter's class, who I run a coding club for. So interestingly, theme around our coding club this year is all around the arts and how you put art into StEm and make it steam just like an amazingly.Kelly Molson: I can't believe how well that's worked out.Paul Marden: It gets better. The very first session of our club was all about what is the job of a museum curator. And so we took that theme and went and took over the Mary Rose and became curators for a day. So the kids got to go around the museum and have fun and see all the cool stuff that's going on there. They did the 3D Dive, the Mary Rose experience, and it was amazing watching a bunch of nine and ten year olds reaching out and popping these bubbles that were on the 3D screen in front of them. And then they went off and they designed their own interactive display around whatever was the thing that excited them about the museum.Paul Marden: So there was lots of dog themed ones because there's a dog that is the kind of subject of a lot of the kids stuff focused around Mary Rose. But there was all different sorts of interactive displays, augmented reality within the glass lift that looks onto the Mary Rose and how you could gamify it. The kids just had a whale of a time and I just strolled around the museum and watched them having fun and say, that wasn't a tough day at all.Kelly Molson: I'm actually really jealous as well because were due to go and then you got the opportunity to go because of that thing happening and I still haven't been.Paul Marden: I know. And it's an amazing place. We had so much fun. They welcomed us. We had all the education department looking after us and making us feel special. It was just such a brilliant day. Apart from trying to park a minibus with 15 kids somewhere near the Mary Rose, which scared me whitlets.Kelly Molson: Oh, you actually drove a bus?Paul Marden: I did not drive the bus, no, I was a navigator. I had to find the parking spot. It's a level of responsive.Kelly Molson: You were bus driver dad as well that day.Paul Marden: There's a character in Peppa Pig, isn't there? I can't remember who she is, but she works in the supermarket. She drives the minibus.Kelly Molson: This rabbit is the hardest working rabbit you'll ever meet in your whole.Paul Marden: Exactly.Kelly Molson:  No, I'm going to put her on par. Sorry, I'm actually going to put her on par with Mrs. Rabbit, who has got hundreds of kids who doesn't work, but she has to look after those. So she is probably the hardest working rabbit that you'll ever find. So there you go. Digress into Peppa Pig. You can see where my world is right now, can't you? That just gave you an insight into where I'm spending my time.Paul Marden: So tell me about where have you been recently?Kelly Molson: I have been recently to the Museum of the Broads. I don't ever really spoken about this on the podcast that much. But I am a trustee of the Museum of the Broads and it is a lovely museum. It does not get as much love and attention as it should. So I felt that today was a good opportunity to highlight it. It's wonderful. It's on the broads, obviously, it's in Stallham. And it is such incredible value for money because you can buy a ticket to the museum and a boat trip. And the boat trips are phenomenal. Last year these were really popular, so they introduced some afternoon evening boat trips where you could go and spot kingfishers because that stretch of the broads is absolutely like prime Kingfisher viewing area.Kelly Molson: I have only ever seen one Kingfisher out in real life, and they're so quick, like it was a flash of blue and I didn't have my glasses on it. She wasn't going to see anything in great detail. That is incredible. On one of the trips last year, on the boat trip, they saw ten kingfishers. It might have been the same kingfisher, just like, who knows? I'm going to say ten. I'm going to take the ten. But the museum itself is wonderful. Some of the artefacts they have there are just really fun and really engaging. And obviously they've got lots of information about the boats and the broads themselves and what the broads were traditionally used for and how they've developed over the years. It's a lovely little museum. It's volunteer led. They have, I think, two or three members of paid team there.Kelly Molson: So much work goes into the management and the development of those museums when it's volunteer led as well. So it's lovely. It is really lovely.Paul Marden: We both started doing trusteeship type stuff at the same time. So I started at Kids in Museums because I wanted to see a broad view of things. You started at Museum of the Broads because you wanted to see the inside running of the museum itself. What has the experience been like for you?Kelly Molson: It's so different. It's such a different environment to what I'm used to. So, I mean, it won't surprise you to know that museums are not quite as dynamic as an agency, or they're just not as fast paced as an agency. So I think the speed at which some things happen is I find it a bit of a challenge, if I'm honest, because we're used to kind of going, should we try this? Okay, let's talk it. Okay, great. Let's not someone run with it. And it's sort of just, I don't know, there's a speed at which stuff happens in an agency that it's incomparable to any other organisation. So it's nice in some ways that kind of take a bit of time to kind of think things through. I've really enjoyed understanding about all of the different facets that are required within an agency, within a museum. Sorry.Kelly Molson: And the things that you have to understand about. Even when we had an office, there's a level of HR and a level of safety management that you have to do, but it's a whole other level when it's a museum and you've got members of the public coming along. So that's been really interesting to understand and learn about. I've really enjoyed kind of looking at how they're developing certain areas of the museum as well. So when there's a new exhibition that's on. So last year, the Pippa Miller exhibition launched. Pippa Miller was a really famous artist that was connected to the broads, and the museum was entrusted with some of her artwork when she passed, and it's the only place you can come and see it. It's a wonderful exhibition.Kelly Molson: So understanding about how those exhibitions are developed and put on and watching those happen as well. And there's another one this year that will happen, which is an exhibition on peat, which I know that probably doesn't sound that interesting, but it really is my mate Pete. No, not your mate Pete. No, actual Peat. Peat soil Pete. So, yeah, that's been really nice to see and kind of understand how those things progress and are developed and the ideas that go into them. It's fascinating.Paul Marden: Cannot imagine the effort that goes into curating a whole exhibition like that.Kelly Molson: It's vast. And I will give a huge shout out to Nicola, the curator at the Museum of the Broads, because she works tirelessly there to just bring these stories to life. That's essentially what they do. They bring the stories of the broads to life. This is a little plea from me, actually. A little shout out to everyone that's listening. If everybody listening to this podcast, I mean, we get hundreds of people listen to these episodes. If everyone went and bought a ticket from the Museum of Broada that's listening to this episode today, it would make such a massive difference to that little museum. So if you are thinking about booking a little staycation this year, head to Norfolk, get a ticket to the Museum of the Broads, go and check out the broads themselves.Kelly Molson: It is just a wonderful experience to go and see that museum and take a boat trip down the broads.Paul Marden: There's a very nice place nearby to stay as well, isn't?Kelly Molson: Yeah, I mean, a certain podcast host does have a lovely little place in Norfolk that you could rent out, which is literally 25 minutes from this museum as well. Just heads up. Paul Marden: Incidental.Kelly Molson: If you want to give me a shout, I can put you in the direction of 28 Millgate. Or you could just search that on Google. No, honestly, genuinely, if you are thinking about having a staycation and you're heading that way, put it top of your list because it's a lovely afternoon out. Thank you. Thanks for listening to my podcast.Paul Marden: So what are we actually talking about today then?Kelly Molson: In this episode, we are going to be answering some of the questions that we've received from the 2023 Visitor Attraction Website Report. So, as you can imagine, we launch the report, we do the survey. All you lovely people fill in our survey for us and we launch the report, which gives you an analysis of what that survey data has meant. And it's a huge undertaking. It really is a huge undertaking. And I don't say that lightly. It's massive. It takes over our whole lives. And there is so much data in the report that we send out, but there's always questions, there's always more, and there's always more that we can do as well. And I think it just is an awful lot of work. Right.Kelly Molson: So what happens is we launch it goes out, people digest it, and then they send us emails and they say, “This is really great. Thank you for this bit. Is there any insight into this thing?” And there's quite a lot of those emails that come in and most of them we probably can answer. It just, again, takes a bit of work to go back and look at the data and crunch the data and see if there is any answers to those questions. So we have had some of these questions in and we thought, well, let's do it as a podcast. And then everybody can hear the answers to these questions because it might be something that other people are thinking about as well.Kelly Molson: So we're going to talk through some of the ones that have been sent in, and then we are going to give you a bit of a heads up about what's happening with this year's report and survey and talk a little bit about that. Sound good?Paul Marden: Does sound good. I need to get my geek hat on my numbers. Geek hat.Kelly Molson: It's time for Paul to nerd out. I will be asking the questions. Paul will be nerding out on the answers. Right. Okay. One of the questions we had in was how many respondents were return respondents from 2022 to 2023?Paul Marden: Yeah. This was a question that somebody asked in relation to. They saw some changes, I think it was in terms of ticketing systems that were being used and they wanted to know, “Oh, if there's been a change in the ticketing systems that were used, could that because we've got different group of people, or is it the same people changing systems?” So, yeah, I dug into that. It was actually relatively hard to figure this out because what people type in as the name of their attraction is not always exactly the same. It's sometimes different people, sometimes they'll write the same name in a slightly different way. So actually, comparing apples with apples turned out to be quite challenging and I had to change some of the data to normalise it between the two groups.Paul Marden: I could see they were the same attraction, although their names were subtly different. What I worked out was two different views of the same thing. But essentially, in the 2023 data set, 20% of the respondents were return respondents from the previous year. But of course, the 2023 data set was much bigger than the 2022 data set. So if you look at it from the other direction, how many people that filled in a survey in 22? Filled in a survey in 23? It's 50% of the 2022 respondents replied in 2023. So we had a good return rate? Yeah, for sure. But there was 50% of people didn't reply. So that made me think, there's a job of work to do this year.Kelly Molson: Where did you go 50% of you. Cheeky little monkeys.Paul Marden: And they vary. Some of them are smaller institutions, some of them are much bigger institutions. There's the reasonable amount of movement of people in the sector, isn't there? So you can easily imagine. Actually, there was an interesting one there, isn't it? What if I were to match the names of the respondents? Did we actually get a reasonable number of returners, but they were in a different job with a different institution?Kelly Molson: Yeah, that's really a good point, actually, because I do know that people, I know people personally, that I know that they've moved on and gone to different places, and actually, some moved out of the sector and moved into completely different roles altogether.Paul Marden: There is a decent cohort of people that returned and responded in 23, but the 23 data set was much bigger. So when you do see swings between 22 and 23, some of that is just a sample size thing with the best will in the world. We talk to lots of people and lots of people respond with data to us, but we have not captured the whole entire set of all attractions in the UK, and so we will get sampling errors out. If one year we sample a different group of people than we did the previous year, the comparisons can be a little bit harder.Paul Marden: If we could just get more people responding and we had more data, then you'll get that the role of chance and the role of sampling errors will have less impact on the data and you'll be able to compare more year on year outcomes.Kelly Molson: Yeah. Okay, well, there's your call out to get involved this year we'll let you know how.Paul Marden: There's going to be lots of those.Kelly Molson: Okay, second question. Can we break down the responses in the other type category? This is an interesting one, isn't it? Because we detailed out as many different visitor attraction types as we possibly could think of or find on internet and gave everybody the opportunity to be able to select what they specifically were, but we still had a huge amount of people put other. What's the reasoning behind that?Paul Marden: Can I give you facts and then tell you what I think the reasoning is? Yeah. So there's some things that I know. Okay. 37% of all respondents mark themselves as the other. It skews when you drill into that 37%. It's a big group of people. It was like the second or third largest group of people in the report itself. They tended to be attractions that had lower visitor numbers. So they were under 100,000 visitor numbers in that other group. So it was about 45% of people were under 100. About 37% were between 100 and a million visitors. Those are the things we know. Then I started having a play with the data.Paul Marden: So what if I were to group those people that were in other because they had the opportunity to type some stuff in for free text box, and could I make a grouping out of that? One thing that I did notice, and this is observation as opposed to fact. Okay. So I could see many of the places that chose other because we didn't allow them to choose multiple types and they were an attraction that had multiple things. So one of them was one of our clients. And they have a historic house. They have a guest house, they have a beach, they have outdoors activities. They've got.Kelly Molson: So how do you categorise yourself based on all of those? Actually, with that client, I probably would have said historic house because that was what I would have put my hat on for that one.Paul Marden: But then I met somebody yesterday. Not too dissimilar. Yeah. Primarily a historic house, but it's a historic house that has a hotel, bar, golf on the site. And if you ask them, it would totally depend on who you spoke to as to what they primarily were. There were people that ran the historic house who would have you believe that they were primarily a historic house, but there were other people that would say, “Well, actually the revenue is generated elsewhere in the organisation and primarily we are a hotel and golf destination and alongside we have a historic house.” So I think there was a nuance in the way that we asked the question, please choose what type of attraction you are. And the only option for the people that had lots of these things was to say other.Paul Marden: And actually, I think going forwards we probably need to say, what are you primarily, and do you have other things and give people the option to choose multiples?Kelly Molson: Yeah, I was going to say, because even if you put multi, it causes the same challenge, doesn't it? Without being.Paul Marden: But when I had to play around with that group and I tried to assign them to things partly based on what they replied on their questionnaires and partly by looking at their websites and having a guess, a lot of them had some element of outdoor activity. A lot of them had food and drink. There was a large group that weren't multi activity. I don't know what a better way to describe those historic houses with other things going on, but there was a decent size of people or decent sized number of attractions that were tv themed and they were primarily a behind the scenes tour or something themed around a tele program. And we didn't have that. There was nothing like that in any of our categorisations.Paul Marden: So again, it just comes down to refining the questionnaire every year to try to improve what we've got. Give people the option to choose multiples and include some other groups. But avoid getting to a point when you look at all the categories we gave, because you mentioned, we gave lots of categories, there was a very long tail. There was a large number of the actual categories where it had one or two attractions within that grouping. And then it's like, is that a meaningful way of slicing and dicing the data? So we have to be really careful not to throw too many categories at it, but at the same time give people some choices.Kelly Molson: Yeah. You also have to feel that the people have to feel that they are included within this as well. So if those one or two people came along and they couldn't choose what they were, would they feel excluded from it?Paul Marden: Yeah. Would they drop out? Because this clearly isn't for me.Kelly Molson: Exactly. I'm all for having more choice in that. It's a tick box. That's fine. There's other stuff that we can take out, don't worry.Paul Marden: And that's because you're not looking at the data. Add more numbers.Kelly Molson: I'm all for cutting stuff out if it makes life easier for people and more people will be able to fill it in and that. But I think that one particular thing is not one that we need to cut back on.Paul Marden: No, I agree with you. Totally agree.Kelly Molson: Were all attractions who responded to the survey paid for, or how do those ecommerce results break down between those that have an entry fee and those that are free? This was a good question.Paul Marden: Yeah, it really was. In many of the questions that we've got, some people chose not to answer us. Within this group, there's a group of people in the whole set of data that chose not to answer this, either because they didn't know or they felt they didn't want to answer the question. But if we take everybody that reported an entry fee, 15% of those people were free of charge. So they ticked the box that said they had no entry fee. That's already a fairly small group amongst the whole data set. So we're asking questions here that zero in on a smaller and smaller group. This sounds like I'm giving excuses before I give you my homework. Yeah. But as the groups get smaller, then the role of chance and sample error means that the data becomes less and less reliable.Paul Marden: And I got to be honest, within that 15%, there was a large number of people that didn't tell us a conversion rate. So you're down into a very small number of people now. 85% of the free to enter attractions didn't tell us what their conversion rate was or said they didn't know or couldn't measure it.Kelly Molson: So that's interesting in itself, because this is some of the things that we've been talking about in terms of the conversion rate and how we measure that effectively, because some of those free museums obviously will have probably smaller teams, less budget, less ability, maybe just less understanding of what we're asking in the first place. My assumption is that they will use off the shelf ticketing platforms that they might not be able to get the conversion rate from. So you've got that limitation in the data that they can actually then supply us because they genuinely just don't have it, they don't know it.Paul Marden: Or because they're free. They don't think about the concept of conversion. But in that instance, how much does it matter the number of people that come to your website and then the number of people that actually buy? If there is no ticketing, if you're free to enter and you don't even need a ticket to pre book to enter, does it even matter? And I would argue absolutely, it definitely does. Because instinctively, I would believe that there is definitely a relationship between the number of people that visit your website and the number of people that visit your attraction. And if you can improve the ratio between those two, you'll get more bookfalls through the attraction.Paul Marden: And even if you're free to enter a considerable portion of the money that you make out of the attraction is going to be from donations, from people walking through the door. It will be food and beverage sales, it will be gift shops, it will be memberships that they join to get other things. All of those things need bums on seats, don't they? If you don't get bums on seats, you don't generate that revenue. But it can be hard, I think, to join the dots between that big number of people that visit your website, hopefully, and the number of people that are actually walking through the door and creating a correlation between, or creating a relationship between the two.Kelly Molson: It's when there's no purchase made from that thing to that thing, there's almost nothing to tie them together.Paul Marden: Yeah, but it makes it harder to think about which, when you're a small attraction in those sorts of circumstances, if it's harder to think about, then it's not going to be a priority for you. But I would argue it would be a super important thing to do because you tweak those. We're all about tweaking the dials, aren't we? We're all about trying to increase. Kelly Molson:  Marginal gains.Paul Marden: Exactly. And in that instance, it can be hard to see the point. But I definitely believe there really is a point to it. If I go one more thing, I would say, and this is where the data.Paul Marden: I don't think the data is reliable, but were into this small group of people that we had, 15% of people say that they were free, and in that group we had a small number of people tell us what their conversion rate was, and it varied. There were some attractions that had a 1% conversion rate. There were some attractions that chose the 5% conversion rate, which was the higher end of the bracket, which was the average over the whole group. I bet you there's more data that would help us to understand what the difference between the 1% and the 5% was. Is it chance or is there something materially different between those two types of institution? I don't know, but there's a debate there.Paul Marden:  And is it valuable for us to investigate that there's only so much time to be able to put to these things?Kelly Molson: Well, I think this is why it's important. Well, this is why we value people asking the questions about the report. This is why we encourage people to give us feedback and to send us these questions in, because it all adds to the conversation and it all helps us make this better and better every year because we can understand what you send us a question and then that gives us an understanding of what's really important for you right now. So we can start to incorporate some of the ways to get the answer to that question into the survey and the report for this year.Paul Marden: Yeah, absolutely.Kelly Molson: So send us more questions. As a midway to this podcast, definitely send us some more questions. You can send them to me, Kelly@rubbercheese.com, or you can send them to paulm@rubbercheese.com but whatever you do, just send them in. And then we can again start to look at how we incorporate some of those questions into this year's.Paul Marden: Yeah, absolutely.Kelly Molson: Okay, next question. It's around ticketing platforms. One question came in and they noted the apparent percentage drop in use of access gamma in the past year. So what we saw was Digitickets and Merack both seemed to kind of hold their share, and they're UK based. With over 70% of the 188 respondents UK based and about a quarter of European. We found it a little odd that there was such a drop here in such a short space of time and wondered if you had any further insight. Interesting one, isn't it, because we all noted that access had dropped off a little bit.Paul Marden: Yeah, absolutely. I'm going to caveat this again. I can go into more depth and understand the differences between the two, but I would caveat it that if we had more responsive, we could be more confident in the reliability of the difference across years. But we've gone from a large, but a sample in 22, a bigger sample in 23. The 23 sample included some of the 22 people. But really, I think what the question I was getting at is how many of those people actually switch ticketing platforms between that group? And I think that is unlikely to be the reason why we saw these changes. Yeah, of course people change ticketing platform, but it's the beating heart of the business. They don't change it on a whim and they don't change them dramatically very quickly. Yeah.Paul Marden: By the way, there's no evidence to this in that respect. There could be changes, but my instinct is it's unlikely to be a wild change on the basis of the number of people because it's just not that easy to.Kelly Molson: No. And we speak to agencies, our own clients have been through these processes, and we know how long they take and we know how embedded those systems are within an organisation and how difficult it actually is to switch from one to another and the time frame that it takes. So I would agree with you.Paul Marden: On the basis of that. I think the differences are more easily explained by we got more different people included. And we're seeing more of what the sector buys. Now, whether, when we get into 24, whether we see another swing again. Well, that's entirely plausible, because the sample sizes, they're not big enough to be statistically valid. They give an indication, but they will suffer from chance in some areas. And it could just be the group of people that we've got, we know within the year demonstrates the usage of the ticketing platforms within the group of people that responded within that year, but unlikely to be comparable across the years. Only 20% of this year's data were responses that had been given in 22 as well. Paul Marden: So we've only got a small group. Within that group the data has changed dramatically in that year, mainly with people telling us they chose an other not listed system. So it was not one of the big ones that were familiar with, and no one reported anything in that group last year. So this is where you know as well as I do, we get people asking us for copies of their data that they've submitted, because there's a big period of timing between when they submit stuff and the report being published, and then they want to see what they did, what they gave to us, don't they? So people remembering what they wrote last year and putting it in again this year, it's no wonder we see differences between the two year groups. Apart from other not listed, which was by far like a country mile than largest number of responses.Paul Marden: The biggest absolute change in the number of responses within the repeating group was digitickets. Digitickets had more people within that returning group saying that they were using their ticketing platform.Kelly Molson: And I can't remember this off the top of my head, but where people are selecting other not listed, are we giving them the opportunity to write who they are using? So did we give them an open.Paul Marden: Such an unfair question? I can't remember the answer.Kelly Molson: I genuinely can't remember. But if we didn't, well, then we need to, because that space, I mean, there's a lot of ticketing platforms already, but there are new ones popping up all over and there are ones that are specifically focused on accessibility for an example. There are ones that are relatively similar in terms of what they're doing to everyone else, just packaged up in a different way. So it would just be interesting to see some of the names that people were putting forward and where people are swinging to. Kelly Molson: We know that there's Tessitura, for example, and Spektrix that are used quite predominantly in theatre world now. People have always talked really positively about those two platforms and it would be interesting to see if they are looking to make that transition over into the attractions world.And maybe some of these people are starting to kind of move over to those. Who knows?Paul Marden: There's a few systems lots of people know about because they're not just pure ticketing, are they? They're ticketing. So they manage the ticket inventory, they do online sales, they do walk ups, they do EPOS, they manage a shop, they manage a catering, they do everything to operate the entire attraction. And then there were other systems that focus purely on ecommerce and the sale of the tickets themselves online. There are other people that focus purely on the EPOS offering. And actually, there's a lot of complexity within these systems that go to running the attraction itself. And maybe again, we need to give people more choice about what they choose and give them the opportunity to choose multiple things. Because we might say, do you use gamma or do you use Merac or do you use Digitickets?Paul Marden: And there may well be people that use digitickets for their e commerce sales, and they might use Merac for their membership, or they're running the epochs in the shops and their food and beverage. I don't think we give people the opportunity to have the nuance of selecting multiple things that they use.Kelly Molson: Yeah, for like, I literally just had a conversation with someone who uses Digitickets for their ticket in, but Merac for their K-Three, for their till. So, yeah, I totally see where we need to do that. Okay, good. Two more questions. Is there future scope to develop comparisons against other science centres?Paul Marden: Yes is the short answer, and yes, we have done that. It's quite interesting because you and I both have been talking about this year's survey at different places and the science centres one is a good example. It's good because I was the one talking. Well, it's good because I was the one, but. So I went to the Association of Science and Discovery Centres conference in Belfast. I talked about that one of the pods just recently, and I had a table talk where I was talking about essentially observations that I found about the data about science centres. But you've done talks in numerous different locations.Kelly Molson: All over the place. I was all over the place last year. Here, there and everywhere.Paul Marden: Slicing and dicing the data to talk to the group of people that you were talking to. So you were in Ireland and you talked about comparisons of the attractions that we've got in both the Republic and Northern Ireland. And then you talked to know that's a different slice of larger attractions. And in both cases, were slicing and dicing the data and trying to find what made that group of people special or what were the observations that we had, weren't they?Kelly Molson: That was one of the nice things about the report this year, because the data set was so much larger, we could make the things that were talking about so much more specific for people. So the ALVA talk was really great, actually. So I was very kindly invited along to speak at one of the ALVA council meetings. And it was at Bletchley Park, oh my goodness. In their new auditorium that were the first group to speak in there. It was wonderful, such a good experience.Kelly Molson: But that was lovely because I was able to talk about how ALVA members are performing and give them a specific breakdown of the things that they're doing well, some of the things that they potentially not doing so well, and give them some real insight into how they can improve on the things when they're not doing so well. So that was lovely. And then the same at AVEA. It was great to be able to give, again, a breakdown of how irish attractions are performing in terms of the rest of the country, but also showcase attractions that are doing really brilliantly from those areas. So actually in the talks I could highlight a specific Irish attraction that was doing an absolutely phenomenal job in terms of great website, great conversion rate, all of those things.Kelly Molson: And it was really nice to be able to shine spotlight on people this year as well.Paul Marden: So pick out some examples of that. Yeah, so let's just pick out some of the examples from the science centre. So the ASDC members, it was interesting because ASDC members tended to have higher football than when you compared it to the whole group of respondents that we had. That surprised me. ASDC members tended to have higher entry fees than all respondents. ASDC members tended to have substantially higher mobile usage than all respondents. So you're up into 90% of traffic for ASDC members or ASDC members tended to have upwards of 89%, 90% mobile traffic, whereas when you look at the whole group of everybody, it was down into 60%. So still the majority, but not as big a majority.Kelly Molson: That's interesting.Paul Marden: So again, is this chance or is there something interesting about the audience that buy tickets to go to a science centre. Are they genuinely different than people that go to the all set?Kelly Molson: Well, yeah. Is this stereotypically because someone is really interested in science and technology, therefore they are more digitally advanced potentially as an audience. And that's why that's higher. That's interesting.Paul Marden: ASDC members tend to spend less of their gross profit on marketing. 18% of ASDC members spent more than 5% of their turnover on marketing, whereas when you look at the whole group, 24% of all respondents spent more than 5%. So it's interesting, isn't it, this difference in the outcomes and the difference for the inputs. ASDC members were much more likely to track their conversion rate, but most of them didn't track their cart abandonment rate. So they don't know how many people were giving up partway through. ASDC members were more likely to have a top level conversion rate. And of the ones that did tell us what their cart abandonment rate, it was more likely to be lower than the average. They updated their websites more frequently and they tend to spend more on their websites each year than the average.Paul Marden: So there was markedly different things that happened across the different groups when you looked at ALVA, much larger organisations. So footfall is higher because that's a minimum entry criteria. They spend more on marketing and they have better outcomes. They had better conversion rates than average.Kelly Molson: Unsurprising.Paul Marden: Unsurprising completely. But what was interesting was within that group, the averages marked quite relative poor performance. So there were some examples where there were attractions spending a large amount on their site, but achieving poorer conversion rates than the average.Kelly Molson: Hopefully those aren't clients. Fingers crossed.Paul Marden: So yeah, there's group averages and you can see differences by the different groups. I think in future, wouldn't it be interesting if potentially we did this sort of analysis based on the type of organisation? If you're a museum, are you more likely to have a higher conversion rate than you are if you're all respondents?Kelly Molson: Well, this is the thing.Paul Marden: What's of interest?Kelly Molson: Yeah, exactly. We can say, oh, this is interesting. Wouldn't this be useful to know? But actually is it useful to know for you? One of the things that we did talk about doing was doing a regional breakdown of how attraction is performing. And I think that's probably on the cards for the next month or so to get that out. We raised that and got some quite good feedback on having that. So that's definitely top of the list. Kelly Molson: But yeah, again, are these things going to be useful for you? We've always had the ethos that any kind of information or support documentation or essentially our marketing has to be useful for you. Right? What's the point otherwise? We need to know what you need. So more questions, please more. Do you have this? Can we have this? If we can't do it, we'll tell you, but if we can do it, we'll damn well work hard to get you it.Paul Marden: You can just imagine that some people find the full written port to be report to be really useful. It gives a fixed set of slices and dices and it gives interesting insights and it gives recommendation. But people might be interested more in more group comparisons or geographical comparisons with less of a large report and more of a. Well, I want to see a white paper about my sector or my location or what is special about me compared to everybody else, as opposed to telling me everything that is good in the sector. Where do we focus our attention to have the best value for people at the end of this?Kelly Molson: Good. Last question. Is there a correlation between conversion rate and visitor numbers?Paul Marden: It's really interesting because this got me playing with the data. I'm all over a pivot table in excel. All right, so I did loads of analysis. Kelly Molson: I am not.Paul Marden: No. We've got our strengths and weaknesses and complement each other very well, I think when I did this first time round and I was working with a team of people that were analysing data, but I was slicing and dicing in different ways and I looked at these things and I thought there was no great relationship. But when this question came in, I had another stab at reorganising the data. And actually I did a heat map version of what is your average sales conversion rate? And we've got like zero to one to two, three to four to five and more than five. And then what is your annual visitor numbers in groups?Paul Marden: And actually, the larger the annual footfall on site, the more likely you were to have a high conversion rate.Kelly Molson: Just for our listeners, this data is quite difficult to visualise. We've got a graph, we've got some pre pictures that will explain this better, which we will put out on social media. If you follow our Twitter account, or if you're connected with us on LinkedIn, or follow our LinkedIn Rubber Cheese, or Skip the Queue LinkedIn pages, we'll put all of that on there. What we'll also do as well is when we edit this podcast, we always do a video. The videos don't get a lot of love, but there's loads of videos up on our YouTube. So head over to the Rubber Cheese YouTube channel and within this episode we will insert what we're talking about as well. So it's just a bit easier to digest.Paul Marden: So yeah, there is definitely a relationship between these two factors. The more footfall there is, the more likely you are to have a high conversion rate. Just intuitively, they must be related variables. This is not just a relationship between the two. There is somehow one is feeding into the other the more footfall you have, the more budget you're going to have, the more you'll be able to invest in marketing, the more you invest in marketing, you'll have more people focusing on different elements of your marketing and you'll have more budget to spend on digital people that can focus on conversion rates and marginal gains. I don't know whether that's true. The data doesn't prove that. That's just my instinct that spending money on people like me is probably a worthwhile investment. But that's just instinct. There's no proof for that.Paul Marden: The heat map shows there's a relationship, but there's loads of factors involved in what goes on. As I said to you before, spending more money does not guarantee you great outputs. And you have to measure these things, make regular changes, because just because you've got a large number of people coming through the door does not guarantee you a high conversion rate. And you need to graft to get to the point where your website is converting as best it possibly can. One major redesign does not an increased conversion rate may you need to do lots of little things regularly to nudge it in the right direction.Kelly Molson: Yeah, it's just the start. Yeah. That comes back to what I said at the beginning about. I was just about to say we're at the end of the project. I'm like, no, we're not star of the project because the project is launching. That's the starting point for the rest of the process.Paul Marden: Yeah, absolutely.Kelly Molson: Oh, this has been really good. Well, look, listeners, hopefully you found that useful. Hopefully some of the listeners that are listening, we've answered your questions as well. We'll send this out to all the people that did ask the questions specifically as well. But yeah, coming back to what we've said, is there something that is a burning question from you, from the data that we've already released? Is there something that would be so incredibly useful for you that we haven't released that we might potentially have? We just don't know. Or we don't know that you need it. And what does this year's survey hold and what would be useful for the survey and the report to hold for you this year? So we are at the point now where we're gearing up for the 2024 survey.Kelly Molson: Last year we launched it in May at the fabulous Museum and Heritage show. Plans are afoot at the moment for when we launch it, but nothing is diarised yet. So it's a really good opportunity to get involved and have your say about what you'd love to see in it this year.Paul Marden: Yeah. There's some key themes that have come out of our kind of retrospective. We've been belly button gazing and questioning what do we do next year? And there's obvious things that come out of it. One of our big things was we want to simplify 2024. We asked too many too complex questions last year and it took too long for people to submit their responses. And that's not fair.Kelly Molson: It's a big ask that we're asking of you to trust us with your data as it is. We don't want you sitting around for like half an hour having to fill it all out.Paul Marden: So we want to simplify, we want less questions, and we're going to look at potentially a different questionnaire platform. We've done different platforms each year in the last two years and I don't think we found the right answer yet. So that might be an area that we try and simplify things. My instinct of, and this is just based on my own struggles with life. Okay. I am struggling with Google Analytics 4 for everybody. All of my data has moved and I don't know how to answer my questions. And that data that's in GA4, it's the core of the questions that we ask in the questionnaire. And I'm thinking, if I do this every day, what must it be like for all of you guys listening? So what can we do to help you understand how to gather the data and how to submit it?Paul Marden: Because there's obviously going to be a disparity, isn't there, between people that do this every day and people that do this as part of a bigger job and they don't do it all the time and they need advice and guidance.Kelly Molson: Yeah. So one of the ideas that's been floating around is that we actually put on little workshop or little webinars, which it shows you how to go and get the data that actually is needed to fill in the survey. And then that's with you. It's a reference point. You can keep hold of that for the following years and the following, the subsequent years. And we might look at, we've got a brilliant circle of fabulous suppliers that we work with that are all attractions focused, and so we could potentially partner up with them and run the workshops and do something like that.Paul Marden: The questions that we're asking, the data that we're gathering is likely to be marketers' dream dashboards anyway. So it's not just of use to the survey itself, it's of use to your day to day month to month reporting and demonstrating the efficacy of what you're doing. We want to increase the number of people that are responding from large multi site organisations. So the plea call to action here for digital markets is in large multi sites. We were interested in talking to you about. If you've got 50 odd sites that you manage ticketing for and multiple attractions all over the country, filling in the questionnaire based form approach that we've given may not be the right way for you to share data with us. No, we're really flexible. We want data. We want to ingest more data because it improves the quality of the responses.Paul Marden:  So we'll be completely flexible around what different large multi site organisations can provide and the method with which it makes most sense for them to provide it.Kelly Molson: So what are we doing? We're doing a vocal shout out here to National Trust, English Heritage, et cetera, to say if you want to be part of the survey and the subsequent report and the process that we're offering you, it doesn't work. You're not going to sit there 50 times, however many sites you've got and fill in this data. That's ridiculous. We can give you a better process of doing that and we can work with you one on one to work out how that works best for you as well.Paul Marden: Completely.Kelly Molson: If you do want to be involved, don't let the process of how we collect the data put you off. We can solve that challenge for you.Paul Marden: Shout out, call to action. Really for everybody that submitted last year and would be thinking about this year's survey is tell us what key themes are of interest to you. We have what we think is interesting and we'll follow our noses and ask questions and ruble around the data to try and find the answers. But we don't know what you want as well as you know what you want. So tell us, as you said, Kelly, ask questions about what you'd like to see, but tell us what you'd like us to do. We might be able to do something really easily based on the data that we've already got. We might need to ask another question. There was a question that somebody asked that weren't able to answer.Paul Marden: They wanted to know whether you were primarily educationally focused as an institution or primarily focused on selling tickets, whether that had an impact on your conversion rate. And actually, without us guessing, it's impossible for us to answer that question. And what's the point in us guessing because we're going to give you meaningless data if we ask the right questions. What's the primary focus of your website? What are the secondary focuses of your website? If we do that, then we might be able to slice and dice the data. So ask us the questions now because we can use that to influence what questions we include in the survey.Kelly Molson: I would add to also as well, if you are well, to say thank you. We had a phenomenal amount of support with the survey last year and the report. But for us, being able to move from 70 respondents in year one to nearly 200 in year two, the difference in that was all of the membership organisations that supported. It's a mammoth task. There's no way I could have done that on my own just by sending it lots of people and hitting people up on LinkedIn and posting across social media. The biggest difference there is the support we've had. I mean, ALVA, ASVA have been huge supporters of us from the start, which we're super grateful for this year. We had AVEA come on board and help us. We've had AIM help us. We had ACE help us.Paul Marden: We had ASDC.Kelly Molson: ASDC. I mean there were just so many. I've got a huge list of all of the attractions and all of the kind of Hampshire's best attractions and these smaller regional attraction organisations that have supported Devon's top attractions. Without their support, we could not have done that, made that happen. So I guess what I'm asking for is continued support, please, would be great. And are there any other organisations out there that we should be talking to? And if there's any listening that haven't been involved in helping us distribute the survey this year, if you're up for it, give us a shout. I mean, the benefit to your members is phenomenal, right? What we produce for them and it's all free. It's all for free. Come and get it.Paul Marden: That is a nice segue because yes, it's all for free, but it doesn't cost nothing. And actually what we would also like help with is sponsorship for 2024. So if there are organisations around the listening public, as it were, that would be interested in supporting the work that we do on this and would like to influence and help guide what we do, then we would be really keen on talking to people that would like to sponsor and that sponsorship could be gifting kind. So some people might be able to help us by doing things with us. Some people might be able to help us by financially supporting the data analysis or the production of reports or production of specific analyses of a slice of the sector that is of interest to them.Paul Marden: There's lots of ways in which people could support the work that we do. And obviously the more support that we get, the bigger we can make this thing, because it is. I mean, it's a herculean task that you dreamt up two and a half, three years ago, isn't it? And you did the first one and it was amazing and you got a decent number of respondents and I think you were both amazed at the number of people that gave us data and downloaded the report and interacted with us. And then were blown away in 23. But we need to do more. There's a market for this. There's a value in what we're doing. It's not just chance. It wasn't a crackpot idea you had three years ago to do this.Kelly Molson: It was not a crackpot idea about it at all. No, it wasn't a crackpot idea. It's really nice, actually. You've just given me a really good flashback, actually. The Museum and Heritage Show has played like a part in this for years, actually, because the survey itself launched last year at the MandH. But the previous year I sat down at the MandH and had a chat with Bernard Donoghue about. I've got this idea, Bernard, and I think this is good. I think this would deliver some real good value to the sector. Would ALVA be happy to help get the word out and stuff? And that was where it started. So isn't that funny that's a connection? I'd forgotten all about that. It's not crackpot. It is amazing and I'm so happy that we've been able to produce this.Kelly Molson: The value that it delivers to the sector, I get. People tell me about the value. So this is not me going, it's definitely delivering value. The feedback that we've had has been so incredibly positive on it and it's just been wonderful to be part of that. So let's make next year's bigger and even better. But maybe some less questions so it doesn't take you as long.Paul Marden: Yes, more rows in my spreadsheet, less columns in my spreadsheet.Kelly Molson: Less time taken up. If you can do it over a cup of tea and a biscuit, then that's perfect, right?Paul Marden: I reckon so.Kelly Molson: Hopefully that's going to produce some good value today and we'll see you next time.Paul Marden: Cheers. Take care.Kelly Molson: Bye. Kelly Molson: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. You can find show notes and transcriptions from this episode and more over on our website, rubbercheese.com/podcast. The 2023 Visitor Attraction Website Report is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsDownload the report now for invaluable insights and actionable recommendations!

Snezana Nesic und Daniel Moreira erzählen, was Musik21 Niedersachsen Nachwuchs ist, wie es dazu kam und wie sie auch in der Pandemie aktiv waren. Danach reflektieren alle Beteiligte über den Workshop, den Probenprozess, das Konzert den Umgang mit Stimme und einer Sängerin.

La Tessitura Valposchiavo, un'icona dell'artigianato tessile svizzero, è sull'orlo della chiusura. Dopo numerosi sforzi di salvataggio, la cooperativa grigionese si prepara a un'amara “cessazione ordinata delle attività”. Questo segna una svolta preoccupante, poiché è una delle due ultime realtà tessili artigianali ancora in piedi in Svizzera.La Tessitura Valposchiavo, fondata nel 1955, è stata un faro dell'artigianato tessile, ma ora il comitato direttivo ha dovuto confrontarsi con una dura realtà economica. Nonostante vari tentativi di salvataggio, la produzione artigianale di tessuti non è più sostenibile. In una lettera ai soci, il direttivo ha annunciato che, per evitare il fallimento, l'unica via sembra essere una chiusura ordinata delle attività.L'evento pubblico previsto per questa sera (12 gennaio) e un'assemblea dei soci entro un mese sembrano segnare la fine di un'epoca. La Tessitura Valposchiavo, insieme alla Tessanda in Val Monastero, rappresentano gli ultimi baluardi dell'artigianato tessile svizzero, con un ruolo anche nella formazione di nuove tessitrici.È un grido d'allarme per preservare un pezzo unico di patrimonio tessile. Il destino della Tessitura Valposchiavo sarà deciso nei prossimi incontri, mentre ci si interroga sulla sostenibilità di quest'antica tradizione.

David Fravor, director of research at the Bill and Melinda Gates Foundation's Melanoma Research Center and a cardiologist at the UCLA School of Medicine, discusses the risks and benefits of musical training and how singing can protect the heart.

On this episode of The BragWorthy Culture podcast, Jordan talks with Laura Bowden, Vice President of People at Tessitura Network. Tessitura is a nonprofit tech company focused on CRM, that works exclusively with arts and cultural organizations.   Laura explains how the organization came into existence when the Metropolitan Opera of New York was trying to integrate various systems into one unified program. Laura goes on to discuss how most of the team have either worked in arts or culture or are artistic themselves and how “living the culture” influences the way the company grows. One of the ways that companies in the arts can grow is in terms of increased diversity and inclusion, and Laura reminds listeners that when companies are silent, they're still saying something.   Looking to build your own BragWorthy Culture? Fringe can help. Fringe is the number one lifestyle benefits platform. Give your people the power of choice and save a ton of administrative headaches by consolidating existing vendors and programs into a simple, automated platform. Contact us at Fringe.us.

Gestern fand in der Wiener Staatsoper die zweite Vorstellung von Claudio Monteverdis „L`Orfeo“ statt. Der radio klassik Stephansdom Opernliebhaber Richard Schmitz berichtet: L'Orfeo ist zwar nicht die erste Oper, aber die erste die vollständig erhalten ist. Sie ist von einer frappierenden Vollkommenheit. Nicht nur die differenzierte Musik Claudio Monteverdis, auch das Textbuch von Alessandro Striggio sind von hoher Qualität. Eigentlich erstaunlich, dass keinerlei Anfängerfehler zu erkennen sind. Die Geschichte der Oper – damals sagte man noch „Favola“ – beginnt mit einem Paukenschlag. Kaum zu glauben, dass man vor 415 Jahren schon so professionell war. Die Wiener Staatsoper hat dieses Werk in einer Realisierung präsentiert, die allen Ansprüchen genügt. Nikolaus Harnoncourt hat mit seiner Einspielung 1968 die Basis gelegt. Schon damals war der Concentus Musicus Wien jener Klangkörper, der die Genialität dieser Partitur zur Geltung brachte. Auch gestern erklangen unter Pablo Heras-Casado alle Feinheiten der Musik. Viele Musikerinnen und Musiker hatten solistische Aufgaben, die mit Bravour bewältigt wurden. In der Titelrolle war der Bariton Georg Nigl ein Glücksfall. Er bewältigte auch die hohen Töne und war in der mittleren Lage dem Text und der Musik verpflichtet. Nur in den Koloraturen hätte ich mir mehr tenorale Geschmeidigkeit gewünscht. Es ist kein Wunder, dass fast alle Einspielungen den Orpheus mit einem Tenor besetzt haben, auch wenn die Tessitura sehr tief liegt. Mich wundert, dass Caronte – verlässlich Wolfgang Bankl – bei diesem Gesang einschläft. Der zweite Star des Abends ist Kate Lindsey, der man die allegorischen Figuren der Musik, der Speranza (Hoffnung) und das Echo anvertraut hat. Slavka Zámečnikova sang wunderschön die Eurydice. Schade, dass die Rolle so kurz ist. Das übrige Ensemble – Christina Bock las Proserpina und Botin – Andrea Mastroni als Pluto und Hiroshi Amako als Apollo – passten sich allzusehr an. Da sollten sich in Zukunft mehr Persönlichkeiten entwickeln. Auch diese Figuren haben Charakter. Schon vor Beginn binden der Regisseur Tom Morris und die Kostümbildnerin Anna Fleischle das Publikum ein. Eine ideale Einladung zur Hochzeit von Orpheus und Eurydike. Sogar die Handydurchsage und der Maskenhinweis sind schon heiter durchinszeniert. Dann findet das Drama des Todes eines geliebten Menschen statt. Das Bühnenbild mit dem live mitgefilmten Zuschauerraum wird im Hades zu einer grauenerregenden Unterwelt, in der es keine Hoffnung gibt. Anna Fleischle hat auch als Bühnenbildnerin Außergewöhnliches zu bieten. Am Schluss entschwebt Orpheus gegen den Himmel. Das ist schon fast kitschig. Das Publikum war auch gestern begeistert und das wiegt bei einer zweiten Vorstellung noch mehr als bei der Premiere. So kann die älteste erhaltene Oper gezeigt werden. Wertnote: 9,3/10 Punkten

Storie Made in Italy con Ver@nica. Eccellenza e storia italiana, Tessitura Bevilacqua tra telai antichi nell tradizione veneziana del velluto. Il valore del Made in Italy di eccellenza, Una storia di generazioni che inizia in un passato ancora piu' antico. Innovazione con design contemporanei. Grazie alla gentile partecipazione di Alberto Bevilacqua Storie contenuti e temi importanti esperienze e un linguaggio semplice da un'idea di Ver@nica diritti riservati

Walter Kobéra brachte an der Neuen Oper Wien gestern Gerd Kührs Oper „Stallerhof“ heraus. Bei diesem zeitgenössischen Werk war radio klassik Stephansdom Opernexperte Richard Schmitz selbstverständlich dabei. Der junge österreichische Komponist Gerd Kühr wurde von seinem Lehrer Hans Werner Henze auf das Theaterstück „Stallerhof“ von Franz Xaver Kroetz aufmerksam gemacht. Kroetz hat auch das Libretto geschrieben, das dem Theaterstück folgt. Es geht um das Schicksal eines halbblinden, geistig behinderten Mädchen, das von seinen Eltern unterdrückt und schikaniert wird. Vom alternden Knecht geschwängert, wird sie am Ende doch erwachsen und einigermaßen selbstbewusst. Die Präsentation der Neuen Oper Wien löst das Werk aus der bäuerlichen Umgebung und erreicht damit eine frappierende Allgemeingültigkeit. Dass geistig behinderte Mädchen vergewaltigt werden, ist leider traurige Realität. Shira Szabady imponiert bei ihrem Debüt als Regisseurin durch gekonnte Personenführung und emotionaler Durchdringung des Dramas. Nikolaus Webern hat in das Semperdepot ein praktikables Stufensujet gebaut. Ob die spiegelgleiche Zuschauertribüne auch von ihm geplant wurde, entzieht sich meiner Kenntnis. Das pausenlose Geschehen kann reibungslos ablaufen. Musikalisch beginnt Gerd Kühr eher deklamatorisch, steigert sich aber bis zum erschütternden Schluss zu eigenständiger Tonsprache. Nach anfänglichen Anlaufschwierigkeiten lauscht man gebannt der Musik. Daran hat auch Ekaterina Protsenko als Mädchen Beppi großen Anteil. Von der Leseschwäche am Anfang über das Erwachen sexueller Empfindungen bis hin zu Zweifel an Liebe und Treue erscheint alles glaubwürdig. Ihr Kinderliedsolo bekommt diesbezüglich eine innere Bedeutung. James Tolksdorf ist in dieser Inszenierung kein grober Knecht, er darf zeitweise auch durchaus liebevoll sein. Für jemanden, der spätestens in fünf Jahren in Pension gehen will, ist er allerdings noch sehr jung. Man merkt, dass er schon viele größere Rollen gesungen hat. Die Stimme ist schön und markant. Franz Gürtelschmied charakterisiert den Vater Staller gekonnt. Tiefer dringt Anna Clare Hauf in die Rolle der Mutter ein. Wie sie es doch nicht übers Herz bringt ihr Enkelkind abzutreiben, ist großes Theater. Die Szenen werden immer wieder durch ein Frauenterzett unterbrochen, die die Härte des sechsten Gebots in der Lutherübersetzung in Erinnerung rufen. Hier verwendet Gerd Kühr auch kirchentonale Anklänge. Ekaterina Krasko, Hannah Fheodoroff und Elisabeth Kirchner genügen allen Ansprüchen der hohen Tessitura. Dass Walter Kobéra und das amadeus ensemble wien verlässlich zum Erfolg beisteuern, ist schon fast selbstverständlich. Das Publikum freute sich über die Wiederentdeckung einer modernen Oper und feierte auch den Komponisten. Wertnote: 7,8/10 Punkten Nach der Premiere durfte Walter Kobéra den bedeutenden Preis der Deutschen Theaterverlage in Empfang nehmen. Die Laudatio war gut recherchiert und zeigte fast alle Verdienste des Intendanten, wurde aber ohne Emotion leider nur abgelesen und geriet zu lang. Kobéra hätte sich Besseres verdient.

This episode discusses the importance of mentorship, why you should become a mentor, overcoming imposter syndrome, how to get buy-in from your supervisor to mentor, how mentoring helps you to stay current and relevant in your industry, and tips on how to choose a mentor. See more about our speakers below: Andrea Cuevas (she/her/ella) Andrea Cuevas is currently the Director of Marketing & Communications at Hartford Stage in Connecticut and a very proud first-generation Bolivian-American. Throughout her career, Andrea has built creative and welcoming ways to share the arts with a wide range of audiences and pledges to continue finding ways to break down barriers so that everyone is welcome to engage with cultural projects. She has served on the planning committees for the APAP (Association of Performing Arts Professionals) and Thrive Arts Conferences, as well as volunteered for the New Jersey Theater Alliance's marketing and strategic planning committees. She also served on the executive committee for the New Jersey Arts & Culture Administrators of Color Network, on Tessitura's Community DEAI (Diversity, Equity, Accessibility, and Inclusion) Advisory Committee, and as a mentor for Tessitura's Early Career Development Program and for students in the Bronx via her alma mater, Fordham University. Andrea is thrilled to be the Board President of Sing Aphasia, a non-profit she helped to co-found in 2020, that empowers individuals and families affected by aphasia to find their voices again through music. Connect with her on: Instagram @andiecaves LinkedIn @Andrea Cuevas Facebook @Andrea Beatriz Cuevas-Ugrinovic Reynaldi Lindner Lolong is the Senior Manager of Annual Giving at Sesame Workshop, the non-profit organization that produces the T.V. show Sesame Street. Prior to Sesame Workshop, he was at The Public Theater for seven seasons, where he worked in marketing and fundraising, and started the organization's first digital department. As Director of Digital Engagement, he oversaw digital communications projects including the redesign of The Public's website, and producing/hosting The Public's first institutional podcast, Public Square. Reynaldi has been a frequent presenter at the Tessitura Conference, speaking on topics that include revenue strategy, community engagement, and the joys of My Little Pony; a guest lecturer in arts marketing at Julliard; and a grant panelist for the New York State Council for the Art, National Alliance for Musical Theater, and the Lower Manhattan Cultural Council. He enjoys baking, immersive theater, video games, the Spartan Race, and lives in Manhattan with his husband and a chihuahua-terrier mix named Kitu. MFA: Yale School of Drama, Theater Management. Connect with him on: Facebook https://www.facebook.com/reynaldi.lolong Linkedin https://www.linkedin.com/in/reynaldil... Twitter.com/rlindnerlolonghare Filmora. 

In this podcast today, I will discuss the company Tessitura! Listen to the podcast for details! --- Support this podcast: https://anchor.fm/thressa-sweat/support

Warum wechselt eine bekannte Sopranistin das Fach und wird Mezzosopranistin? Was ist eine Tessitura? Wie kommt es, dass eine Sängerin ein Fläschchen Echt Kölnisch Wasser als erste Gage erhält? Warum ist man beim Singen völlig »im Moment«? Was ist der Reiz an der Improvisation über Gedichte? Was ist das spannende daran, bei einer Live-Aufführung »am Abgrund zu stehen«? Katherina Knees spricht mit Anna Lucia Richter über ihren kindlichen Traum, Opernsängerin zu werden und wie sich dieser bis heute erfüllt. www.annaluciarichter.com https://youtu.be/3PE8v296Vik https://youtu.be/0SScPTDQIGI https://youtu.be/i9dQISpcj5A Foto: Anna Lucia Richter ©Julia Wesely

Un podcast di storia che racconta come nel Neolitico gli uomini iniziarono a lavorare la lana delle pecore e le fibre vegetali ricavate dalle piante del lino e della canapa...

In this In this episode, AMT Lab Podcast Producer Angela Johnson interviews Andrew Recinos, President and CEO of Tessitura Network; Kathleen Barrett, Senior Vice President of Enterprise and Head of Creative Success at Vimeo; and Emma Keith, the Director of Digital Media at the National Theatre in London, about the recent strategic partnership between Vimeo and Tessitura that syncs Vimeo OTT and Tessitura's platform so that organizations can easily give audiences access to gated video content.

In today's episode, I welcome Natalie Cordone & Shawn Kilgore! This incredibly dynamic duo have amazing stories to share about the show that introduced them to each other, the creation of their own tribute show to Steve Lawrence and Eydie Gorme, and all the adventures in between. (Fun fact: the cover image for this episode is of Natalie & Shawn!)   Get in touch with Cordone & Kilgore: www.cordoneandkilgore.com Support Artfully Told: www.paypal.me/elevateart Artfully Told links: www.facebook.com/artfullytold | www.artfullytold.podbean.com | elevateartskc@gmail.com Get a free audiobook through Audible!  http://www.audibletrial.com/ArtfullyTold Schedule your own interview as a featured guest with Artfully Told! https://calendly.com/artfullytold/podcast-interview   Episode 54 - Natalie Cordone & Shawn Kilgore Lindsey Dinneen: Hello, and welcome to Artfully Told, where we share true stories about meaningful encounters with art. [00:00:06] Krista: I think artists help people have different perspectives on every aspect of life. [00:00:12]Roman:  All I can do is put my part in to the world. [00:00:15] Elizabeth: It doesn't have to be perfect the first time. It doesn't have to be perfect ever really. I mean, as long as you, and you're enjoying doing it and you're trying your best, that can be good enough. [00:00:23] Elna: Art is something that you can experience with your senses and that you just experiences as so beautiful.  [00:00:31] Lindsey Dinneen: Hello, and welcome back to another episode of Artfully Told. I'm your host Lindsey, and I am so very excited to have as my guests today, Shawn Kilgore and Natalie Cordone. They are a performing duo that has been producing, writing and touring around the country for almost a decade. And they are currently the hosts of "Live! With Cordona and Kilgore." And I am so excited to chat with them about their artistic journeys and what they're up to now. I know their whole focus on is on positivity and light, and I'm just so excited that they're here. So thank you, Sean and Natalie, so much for being here today. [00:01:14] Shawn Kilgore: Thanks for having us. This is very exciting. I'm excited to be here. [00:01:18] Natalie Cordone: Yeah, we're thrilled to be here. Thanks, Lindsey. [00:01:20] Lindsey Dinneen: Of course. And it sounds like we have some guest artists as well. [00:01:25] Shawn Kilgore: Yes. I apologize for the, for the hounds in the background. [00:01:29] Lindsey Dinneen: It's all good. I have two dogs too. They might make a sound appearance at some point as well. [00:01:36] Natalie Cordone: Yeah. I'm not making any promises on my end, either. The pup is-- he's being good right now, but you just never know. [00:01:41] Lindsey Dinneen: Yeah. You never know when they'll have to defend the house against the UPS driver. You just never know. [00:01:46] Shawn Kilgore: Exactly. [00:01:47]Lindsey Dinneen: Well, okay. So I would just love if you two wouldn't mind just sharing a little bit about your backgrounds, maybe how you got into art in general, into your specific fields, how you guys met, and maybe a little bit about what you're up to now, which is I know a tall order, but we'll just dive in and I can't wait to hear. [00:02:07] Shawn Kilgore: Absolutely, Natalie, go ahead. [00:02:09] Natalie Cordone: Sure. So my artistic journey actually began in a tutu when I was about three. So I started dancing in tap and ballet lessons like most of us did, and I was a dancer up until I was in college, but along the way, I joined the theater and became an actor and then didn't find my voice as a singer until I was in college, really, which is an odd journey and kind of very different from Shawn's. But then I started singing mostly opera and I sang with the Orlando Opera and got my Master's Degree in Acting, and became a professional actor right away and started dancing and singing in musicals. And along with singing with the opera, and along that journey is when I met Shawn. But let's have him tell you a little bit about him before we talk about how we met. [00:03:00] Shawn Kilgore: For me, I started singing from a very young age, mostly in church, and I was very involved in music all through school. But it wasn't really, until I was in eighth grade, I was about to be a freshman in high school when my mom took me to see my first big musical. And from the second that it started, I knew exactly that that's what I wanted to do. So I immediately got involved in theater, you know, and, and musical theater in, in high school. And that continued that on through my college years. That's what I studied both at a school in Ohio and then later at a school in New York City. And then I moved to Florida, South Florida, worked professionally for many, many years in regional theater throughout the state and then moved to central Florida. And that brings us to where Natalie and I connect. [00:03:43]Natalie Cordone: Oh, it's a good story. So, so the, the real story of how we met begins with Shawn's singing with the Orlando Philharmonic Orchestra. He was doing this fantastic version of "Carousel," where he played Billy Bigelow. He was the big man on campus and it was a very coveted role and super exciting, singing with a full orchestra and in the midst of it, I was moving back from New York City. And we both got cast in a show together. So Shawn had been cast in the musical from the beginning and his partner in the show was supposed to be another actress. The show is called "Baby," and in the show, our two characters are desperately trying to get pregnant. I think that's a nice way of putting it. So in that show, we spent most of our time in a bed. That was our set. And so we got to know each other very closely, very quickly... [00:04:39] Shawn Kilgore: Yeah, a lot of intimacy from the day we met. [00:04:41]Natalie Cordone:  And I just thought he was the most wonderful actor. And the only reason why I was cast in the role was that this whole time, the storyline it's really about how this couple cannot get pregnant. And the actress who was supposed to play the role, got pregnant. And so she was going to be five months and showing on stage, which would have made absolutely no sense. She's a wonderful actress and it's the only way she could have possibly lost the role. And so as I was coming back from New York, that theater called me and asked if I would do the show. And so I was thrilled to get a chance to work with Shawn and, and have it be my sort of return to this regional theater that I'd worked at many times. And so we did get onstage and, and get pretty close, pretty fast. And in the midst of that, I was doing a solo show. And Shawn said, you know, "Would you want to do a cabaret show with me?" And I'd done quite a few of them. And I said, "Yes, I'd love to work with you again, but can we do something even bigger and better than a cabaret?" And from there we put a band together and we got charts and we found that we loved the same kind of music. And so we loved singing together. And I couldn't imagine not working with him and having him in my life every day. And so we started creating theatrical concerts. And they got really popular pretty quickly. And so we created, we created well over a dozen shows at this point. And, and we started touring them around the country. So that's how we met. [00:06:10] Shawn Kilgore: And while we were doing that, we also became, because of Natalie, had also done a show with the Orlando Philharmonic. So we had sort of cultivated this relationship with, with that local orchestra here. And so we maintained that relationship and that brought us once they saw that we were what we were doing, they invited us to be guest vocalists. So then we would start to appear with the Orlando Philharmonic on a semi-regular basis for pops concerts and those kinds of things. And, you know, between the shows that we were producing and performing and the shows with the Philharmonic, our audience members would always come up to us and say that we reminded them of Steve Lawrence and Eydie Gorme. [00:06:47] Natalie Cordone: Yes. [00:06:48] Shawn Kilgore: So that led really sort of catapulted us into our next venture, which was creating a tribute show to, to those really incredible artists at the time. You know, we knew who they were, we had heard the names before and not really, you know, very well versed, you know, in their careers though. But now, you know, we have been-- that show, that's our longest running show. We've been touring with that show for almost eight years now. I think that show has played, you know, from everywhere to Las Vegas, to, to Miami. And so, so that show really has sort of been the biggest, the, the biggest thing that we've, that we've been focusing on over the past couple of years, but it's been great. We learned a lot about Steve and Eydie. They were really incredible entertainers and they both had incredible individual careers. And when they came together, for those out there that, that remember them, know that it was just magic and there was nothing like it. So for us to be able to sort of try to recreate that a little bit, we're not, we're not impersonating them. We are, we are simply tribute artists where, you know, we're, we're out there as ourselves singing their music. So that is sort of what we, that's what led us to this point now where we are now. [00:07:55] Natalie Cordone: Yeah. And we're about to do that show again, coming up as we come out of everything that's happened recently, it's super exciting to get to kick off our season with it. And while we were waiting to do that show again, is when we started our live with Cordone and Kilgore show, which is an online show where we are the interviewers. And we bring on a different guest every week because we found that what we really wanted to do during this time was just accentuate the positive as much as possible. One of the things that I love about Shawn so much, and I think what made us click from the beginning, is that we really both like to air on the sunny side of whatever's going on in any situation. And we found that anytime we would jump online and just sing a song or the rare occasions, when we got to sing together, people really were resonating with the fact that we were bringing some kind of light and positivity to the world and we wanted to be able to bring other people in to do the same. [00:08:55] So that's when we started our live interview show where we have it kind of like Regis and Kathy Lee back in the day, if they were to have sung together, which we do on every show, we get a chance to, to sing together, whether that's old footage of the last 10 years of our shows, or if we get to do it live and in person. And we get to bring on great guests, everyone from artists to dog rescues to people who are making drinks and bakeries and anything that makes us, you know, feel good. Yeah, and brings us positivity. [00:09:30] Shawn Kilgore: Yeah, we say, we say our goal is to accentuate the positive. Yeah, like, like she said every week. And so it's a, it's a nice thing to do. We talk about, you know, good news stories. We're talking about good things that have happened to us. We invite our guests to share, you know, stories of what's happened in their weeks that might've been positive or good. Yeah, so we're really enjoying it. So not only so people can join us live for that when we do it live, but it is also available as a podcast currently on Spotify and Stitcher, and hopefully coming soon to all other podcast platforms. [00:10:00] Lindsey Dinneen: Wow. That is so cool. I am so enamored with your stories. Oh my word. And the way that they intersected and I just love what you're bringing to the world. I think this is just so cool. And yes, this whole time I've been smiling because what great stories you guys have to share about, you know, how, how you all got started. And I, I resonate with you, Natalie, about getting started in a little tutu. I started dancing when I was four, but it wasn't for the dancing itself. It was for the costumes. Let's be real. [00:10:32]Shawn Kilgore: That's the one thing you guys have a lot in common. Natalie changes gowns I think maybe eight to 10, maybe 12 times in the show. [00:10:40]Natalie Cordone: I do have, I hope you do too at this point, but I'm so lucky that my work wear is actually two full closets of gowns in my house. 'Cause that's what I get to get dressed up in to go to work. So I'm with you on the sequins and rhinestones front for sure. [00:10:57] Lindsey Dinneen: Oh yeah, yeah, no completely. I, I still get extremely excited to put on a tutu and tiara. Still a wonderful moment. So yes, I resonate and yes, I do have actually in my house because you know, I also have a professional dance company. We have, I think, three closets that are fully devoted to dance costumes. It's ridiculous. But here we are. Yeah. [00:11:22] Shawn Kilgore: That's it, but I've actually worn a tutu one time. [00:11:25] Lindsey Dinneen: What, why? [00:11:27] Shawn Kilgore: It happened once. It was actually in high school, believe it or not. I can't believe I did it. And I can't believe I'm still alive after doing it. It was in a show. It was like, you know, our show choir was doing a Best of Broadway thing and we did the number "You Gotta Get a Gimmick" from "Gypsy." And it was the two women came out to do the first two. And I came out and I was the ballerina butterfly. I was Tessitura. [00:11:50] Natalie Cordone: Okay. So the only time that this gets weird is that Shawn and I have once in our lives played the same role in a musical two different musicals, but we both-- [00:11:59] Shawn Kilgore: Two different productions, yeah. [00:12:00] Natalie Cordone: That's right. In the same musical, in "Nunsense." We both played Sister Mary Amnesia at two different times. He played it. I played it in "Nunsense" and he played it in "Nunsense Amen." so we've actually shared-- the three of us have all shared the experience of a tutu. And two of us have actually experienced being the same role on stage, which as a soprano and a baritone makes absolutely no sense, but we did it. We've done it. [00:12:22] Shawn Kilgore: I'm actually on the national cast recording of "Nunsense Amen," which is also available on Spotify, you know, out there that as Sister Amnesia on the recording. [00:12:30] Lindsey Dinneen: What! That is so cool. Oh, my word. You two. I love it. Okay. So I just, I was really tickled when you were talking about, you know, the first time you met and it was like, "Well, here we are. We're going to get to know each other real fast." Was that ever, and I guess I'm just curious about this in general, you know, not as an actress, I, is that ever just super awkward and difficult when you have to kind of jump into those roles and you're like, "Well, we're going to be up close and personal for awhile." [00:12:59] Shawn Kilgore: It really, it really depends on the other actor. And I think, you know, for me, I feel really lucky. From the moment I met Natalie, I knew that I was going to be friends with her. That was that it was going to go beyond. I had not in my wildest imagination could have dreamt that we would be where we are today. But I knew that we were going to be friends and we were going to be in each other's lives for a while. So you get lucky. So you get lucky with that casting, you know, it's, it's all about the other person in that situation 'cause it could have been a nightmare. You know what I mean? It really could have been a nightmare from day one. But thankfully, you know, we really, we connected and, and, you know, it turns out to be the show itself was a, it was an incredible show and we got to do some really wonderful moments together. We got to play the happiness of, of being a couple into the, the heartache of, you know, thinking you are pregnant and then finding out that you're not, again. You know those scenes were pretty powerful and to get to go through that together every, you know, eight times a week for however many weeks, it was, I think that's something that, that bonded us also, you know, [00:13:57] Lindsey Dinneen: Oh, for sure. [00:13:58] Natalie Cordone: Yeah, for sure.  I was just going to say that chemistry piece of it is one thing that you can't make up, right? It's genuinely liking someone and then getting to fall in love with them over and over again. It's really special and I've, I've been lucky that I've never had a bad experience, but I've definitely had ones where you do sort of walk out and go, "Oh my gosh, I can do this eight times a week with this person. And it will be just a joy every night." It's so easy. And when you meet Shawn, everyone falls in love with Shawn. There's just no person that's ever not immediately been enamored with him. So I was very, very lucky on that front, but I think that it can be super awkward if you don't enjoy the person you're with. So I think that that was one of the things where, because we both had been professional actors for a long time, we both knew that when we met, it was like, "Oh, this is different. Like, this is special. Thank goodness. This is going to be fun." You know? [00:14:54] Lindsey Dinneen: Absolutely. And I can, I can relate to that just on the dancer level of when you're doing partnering, it is so physically close. I mean, you're, you're literally touching each other so that you can be supported in pretty cool ways in these different lifts and all sorts of different things. And I, I relate to the fact that sometimes I've worked with partners where it felt like a lot more work. I mean, I was also always lucky to have people who were awesome to work with, but yeah, when I met the, the guy who is currently my dance partner was like a very similar experience of, "oh, this is easy." And this is a lot of fun versus, you know, like, feeling like it's more of a job. Yeah. Yeah. Okay. And so your tribute show, I'd, I'd love to delve into that a little bit more. I think that is such a cool thing that you guys have developed and, and obviously you've gotten to tour with it and do all sorts of wonderful things.  How long of a process was that to sort of write the show and, you know, come up with all of the different components. I mean, I, I can only imagine from my production experience, but I feel like this is a whole 'nother level when you're doing something to be a tribute to people who came before you essentially. [00:16:08] Shawn Kilgore: Yeah, absolutely. We sort of live, we sort of lived in their, in their music for a good period of time. Right? Not only like we listened to almost everything and like we went through there, you know, as much as possible. And to really try to, you know, look at every video we could find and read everything we could find.  I mean, we, we fell in love with them, you know? And so then when we get to the point where we're creating the show, it really made us want to do them justice, you know? [00:16:35] Natalie Cordone: Yeah. And knowing that they were such a special couple for those of you guys that don't know Steve and Edyie were, they worked together and they lived together and were married for 55 years. So, and they were on over 90 albums between the two of them both together and separately. And they had hugely successful solo careers, but they also were one of the best known duos at the time. And we're friends with Frank Sinatra and toured with him and on the Carol Burnett Show, people knew them from the Carol Burnett Show. Yeah, it's a legacy. Yeah, all of that music that it was really hard for us to whittle it down to just a 90 minute show. I mean, that was part of the hard part was going in and saying, "But we love all of this stuff." How do we try to make, you know, how do we try to do them justice and tell their story in a way that resonates with ours. And also get to do this incredible music that spans so many decades, but still has a real through line of sophisticated pop music. That's really what they were known for. [00:17:41]And so that was the easy part was being able to sit back and sort of go, "Oh, what's good? Well, everything's good." Now the hard part is how do you pick what to do, what to do? And so, like Shawn said, we really did live in their world for a long time and, and touring with the show, one of the things that's been really great is that we've met a lot of people that were either related to, or were friends with, or worked with Steve and Eydie along the way. Everyone from like roadies, we had a guy who told us that he was, he worked backstage and that Edyie Gormé would sit there at a table Pac-Man that she used to travel with, like back when Gameboys, right, were a thing, or you couldn't put an app on your phone, she used to have one of those full tabletop things that they, she would sit and she'd have her hair in curlers with like a martini in one hand and a cigarette in the other, playing this tabletop. And you can't find that, right, in an interview with Johnny Carson. You can only find that from people who knew them. So that's been really cool too, to sort of live in that space and have people resonate with the show so much that we always try to do, you know, some kind of a talk back with the audience if we can, after the show. And they've taught us just as much as we've entertained them. So that's been a really neat thing to, to add to our repertoire along the way. [00:18:55] Shawn Kilgore: It is. That's one of my favorite things about it is, is getting to meet the audiences afterward and getting, getting to meet the people who did work with them or they, they knew them. And getting those stories like that story that Natalie just told, like she said, not anything you would ever find on the internet. We would never know that if we didn't come across that person. And now that story is in the show, we tell that story in the show. So when people see the show, they're getting to hear, you know, the things that they knew and loved and remember about Steve and Edyie, but also some of these more personal touches that we're weaving into the story that we tell, you know, so it's, that's a really cool thing about it and, you know, see there's, their story really is probably, I would venture to say, even to this day, one of the greatest Hollywood love stories there is. They met on the original Tonight Show, you know, way, way back in the day when they, they were very young, they were cast as singers side by side-by-side with Steve Allen. They met there, you know, they fell in love. They were together for over 55 years and they managed to stay married and work together that closely for that long is, is really a remarkable thing, you know? [00:20:01] Natalie Cordone: Yeah. And what they did so beautifully too, was that onstage, they jabbed at each other, like only a married couple really can. And that's something that I think we're really lucky to be able to bring sort of that wit and humor into the show because it keeps it alive and fresh for us even after all these years, because I think we might have a very similar dynamic to what Steve and Edyie had on interviews and stuff just as people. So that's been fun to recreate too. People, our audiences swear that we're married. I mean, they, you know, they can't believe it when we tell them, we don't really tell them in the show, but if people ask us afterwards, you know? [00:20:38] Lindsey Dinneen: Yeah, yeah. Oh, that is so fun. I mean, but, okay. So then to be compared to, to such an iconic couple and yeah, what a feat in general, let alone with the pressures of being super famous and having these amazing careers and things like that. So kudos to them, but was it ever incredibly intimidating at all to sort of think like, "Oh my goodness, people are comparing us to them. How do we do this justice?" [00:21:05]Shawn Kilgore: I would say it's not really because we've never tried to impersonate them in any way. We really are going out there. We're singing in our own voices.  We're talking as ourselves. We're not putting on their persona in any way. But we feel very good about the, the way that we're honoring them and their careers and their lives and what we've put together and our audience, you know, based on what the audience is say, you know, it's, it's a good-- we feel, we feel good about where we are with it and how it all just sort of came together. It all full sort of feels like it was meant to be for us.  Maybe some might think a weird thing to say, but you know, the way our stories connected and how similar it is to their story, they met when they were cast on a show together, you know? So did we and we are doing this because people told us, you know, when they saw us perform together, that we reminded them of them. And so it just feels like the universe has told us this is what we're supposed to be doing. [00:21:59] Natalie Cordone: Yeah, the only time I can say I was intimidated was when we were doing our show, we sat down in Vegas for awhile and we found out afterwards that Steve Lawrence's people had sent people to come see the show. And I talked to them on the phone afterwards and they, they loved the show. They thought it was great. I'm glad I didn't know they were in the audience the night they were there. But knowing that they had like sent people to make sure that the show was-- because they'd heard, well, I mean, we had, we had told them we were coming and they had they come to sort of vet the show and it was nice to hear that they, they enjoyed the show-- but that I'm glad I didn't know ahead of time, I would have been a ball of nerves if I had known that they were listening to me saying her iconic songs on stage. [00:22:41] Lindsey Dinneen: Yeah, that makes complete sense to me. That is, that is so cool. Definitely meant to be, it sounds like. And now, I'm excited to hear that you guys are going to be able to go back to performing again. I know COVID sort of threw a curve ball at many different people, especially performing artists, but tell me a little bit more about your show that you're doing now, these live productions that interview people and things like that sounds like an incredible way to bring, like you said, positivity to the world. I'm just super curious how that came about and how that's going. [00:23:13] Shawn Kilgore: The funny thing is it came about. So after like eight months about of not being together, not singing any of our tunes, we were both feeling good. We got together, we had maybe a bottle, maybe a bottle and a half of wine. And we were like, "Hey, let's play Russian roulette with our songs and see what we remember." And we decided to do it live on Facebook.  [00:23:34] Natalie Cordone: I'm glad that we know each other well enough that we were okay. If things didn't go well, because it was good, it was fun. It wasn't always good. I guess that's a good... [00:23:43] Shawn Kilgore: That's a perfect way of saying it, but even when it, yeah, even when it wasn't, it was still fun, you know, so that's kind of how it all started. We enjoyed it. We had, you know, we got great feedback from that and that's sort of pushed us in the direction of trying to do something on a more regular basis. And, and now we're sort of, have delved into this world of podcasting and podcasting with video, and I'm really excited about the, about the direction, the direction of it. [00:24:08]Natalie Cordone: And Sean and I had both expected along the way that we would be broadcast journalists. It's odd. That was where we kind of had both begun thinking our careers would end up and it's fun to have brought it full circle where that's really sort of what all podcasters and video podcasters are doing now. And it's neat to come back to that sort of love of ours that we had to put aside while we were touring all over the place for the last umpteen years together. [00:24:33] Shawn Kilgore: And we really are about sort of modeling the show after sort of, so it is sort of modeled after that sort of Live with Regis. And I always say Regis, but... [00:24:41] Natalie Cordone: I like the Regis and Kathie Lee and we can stick with that one. We can go old school, Shawn, that's alright. [00:24:46] Shawn Kilgore: Kathy Lee would sing sometimes, but she would not have Regis sing with her. [00:24:50] Natalie Cordone: No, that's for sure. I think she might've pushed him off the stage, but she wouldn't have the bottom line. [00:24:54]Shawn Kilgore: So we sort of modeled after that kind of field. So it has a very fun lighthearted, we wanted it to be very conversational. We didn't want it to be about any one particular topic so that we could have, you know, it seems like, you know, even like how you're doing, you know, you have a variety of people in the arts, which is awesome. But yeah, so we sort of like, we, like Natalie said, we next week are having a, a baker on the show. And then, you know, we were having some other podcasters on the show and we have had musicians and like Natalie said, pet dog rescues. We've had, so open to just anything that would make anyone feel good or lift them up after, you know, a long day. Or a long year... [00:25:31] Natalie Cordone: Yeah, that seems to drag out. [00:25:33]Lindsey Dinneen: Yes, that's fantastic. I'm so glad you guys are doing that. And so, and I'm sure I have more questions, but I'm sure that there are people who are super interested in following your journey and connecting with you and, and, you know, getting to experience these live shows. Is there a way for people to find you and connect with you and, and support you? [00:25:54]Shawn Kilgore: Absolutely. [00:25:55] Natalie Cordone: They sure can! They can find us on Facebook. They can find us on YouTube and they can also find us on our website. And you can always look us up as Cordone and Kilgore. So if you find us on Facebook, it's Cordone and Kilgore, Instagram: Cordone and Kilgore, YouTube: Cordone and  Kilgore, and then on the web it's cordoneandkilgore.com. So super easy. We are very unimaginative when it comes to naming things. So you can just always find us as. [00:26:22]Shawn Kilgore: It's just us. That's what, you know, this is a beautiful thing. It's just us. [00:26:26]Natalie Cordone: All the time everywhere. Our show, as of right now is streaming live at 7:00 PM Eastern time, 4:00 PM Pacific on most Mondays. And you can always find it after the fact on those channels as well. [00:26:40] Shawn Kilgore: Absolutely. And they are also posted to IGTV because we're not able to go live to Instagram, so they are edited and then posted to IGTV. And then again, you know, we take then the audio from it and then do an edit of that for audio podcasts that are currently available on Spotify and Stitcher. And then and again, hopefully we'll be expanding that audience pretty soon as well. [00:27:02] Lindsey Dinneen: Yeah, absolutely. Perfect. Well, that's, that's very exciting. I am personally delighted to follow your journey and also to support this live show in particular, because that just sounds fantastic. I can't wait to tune in, but yeah. So I'm, I'm just curious. I'm sure this has happened to you both on multiple occasions, but are there any stories that stand out to you? Where either somebody was experiencing art that you were creating or, you know, a show or something like that, or that you personally got to witness that was really impactful? It was kind of this moment to remember, like, I, I need to file this away because this is really special. [00:27:44]Shawn Kilgore: Yeah. [00:27:45]Natalie Cordone: From my own personal experience and watching someone else create that really moved me in a way that I'll never forget. I've seen so many shows, both my friends and other professionals' work, but the one that hit me, the strongest that I can sit here and put myself right back in the theater was-- I watched Audra McDonald do "110 in the Shade." And there is a song called "Old Maid" towards the end of the first act, I believe. And, and she ripped me to shreds. And I just remember, I'm still, I'm getting chills, just thinking about it as I'm sitting here. And it was the way that she connected to the material that she was singing. And it was that she was, she's a brilliant vocalist, but she was really experiencing that, the moment in a way that I could feel in my own body and my own soul, the way that she was experiencing that moment for that role. And I was sobbing in the audience and the audience was completely full.  [00:28:54] I had gone to theater by myself, which I do often, and I didn't know either of the people sitting next to me and I know they thought I was nuts. I kept getting like those sideways glances of ,why is this? Why are you crying? Now the whole entire audience wasn't sobbing. And it, for me was one of those pinnacle moments of great art that I got to experience and is something that no one will ever get to do again, if you weren't in that theater. And I think that's what I love so much about live performance is that it is temporal. And when it's done, it's done. And any time I get to experience live performance, dance, music, if it's being made in front of you, that's something that no one can take away from you, right? My house could burn to the ground. I could lose everything I have, but no one can take that experience for me. And that's one of the things that I love so much about art and about live performance. [00:29:50] Shawn Kilgore: That's a great answer. I feel like that's why we as artists and why everybody who loves art comes back to it because you're always, I don't know. It's sort of like, when you have a moment like that, you want another one, so you seek it out. And so you're, it's like trying to chase that high. Yeah. I love it. So that, but that was a great answer, I think, but for me, I've had many impactful moments with art. My most recent one though, however, was getting to see a Bette Midler performance of "Hello, Dolly" in New York City for me now that I can tell you why I sobbed, not all the way through, but there were moments where, I mean, I, and not for, because it was, it was just the most amazing-- I don't know. And I'm getting chills thinking, just thinking about it, talking about it. Cause it was, you felt like I don't even know how-- I can't even put it in words. I'm at a loss for words, trying to even explain what it was, how it was, but... [00:30:45] Natalie Cordone: Well, I know that when they came out for "Put on Your Sunday Clothes," and I know we've talked about this, when they did the "Parade of the Costumes," it's what you've wanted every musical to ever be in all the world. And I know, I remember you talking about how she just touched you so much and I, I can feel it listening to you talking about it. [00:31:04] Shawn Kilgore: Yeah. Yeah, that's cool. That's cool. Yeah. Like, and after that iconic, the iconic "Hello, Dolly" number and just the roar of the, you know, in full Broadway theater. And as everyone like stood up and I, I swear it went on for like five minutes or more the, the standing ovation, like it was, yeah. I just love it. I love, yeah, that was awesome. [00:31:28] Lindsey Dinneen: Yeah, of course. That is so cool. Well, yeah, you both have incredible stories about art being impactful and really like the, the idea of the art addict. [00:31:38]Natalie Cordone: We might have to make a t-shirt. [00:31:41] Lindsey Dinneen: Thankfully it's the healthiest addiction you can probably have, right? Oh, man. I feel like that needs to be explored further. We might, you know, that's fantastic. [00:31:52] Natalie Cordone: Art might make you poor, but it'll definitely get you high. [00:31:53]Lindsey Dinneen: This is perfect. I love it. Oh my gosh. And I totally resonate with what you were both talking about with live theater. I mean, I'm so grateful that there are so many avenues nowadays to view art virtually whether it's a, you know, it's a musical or something else, but there's nothing that compares to live theater, even as a performer. I feel, you know, if you're taped it's, it's nice. I mean, I'm glad to have that so I can go back in and see it again. But there's nothing like that feeling of just being on stage and looking out into the audience and hopefully it's a super dark theater, so you don't see anyone's face, you know? Oh, that's awesome. That's so exciting. So when's your first live performance back? [00:32:40]Natalie Cordone: We are so lucky that we will be performing at the Grand Oshkosh in Oshkosh, Wisconsin coming on June the 11th. It's a Friday night and there'll be a live broadcast of it as well that's completely free. So if this happens to air before June 11th than anyone wants to watch it, if you go to the, if you Google the Grand Oshkosh or watch any of our shows, we always try to put up a link for it. That night you can watch the free live broadcast of the show along with the 50 or so people that are going to be allowed into the house that are going to be socially distanced in the balcony for the night, but we get to have our three piece band with us. We're going to get to actually tour up there again. [00:33:19]Shawn Kilgore: And it will be a really nice stream too. It's going to be a three camera shoot and that's all thanks to, I believe a sponsor, right, Natalie? Somebody, a corporate sponsor, that's sponsoring these, the stream so that we can share the show with, you know, an even broader audience, which is awesome. [00:33:33] Lindsey Dinneen: Yeah, that is fantastic. You know, it's so interesting because again, in so many ways artists have had to really switch gears or be a little bit differently innovative, I would say. I think in general artists are very good at adapting, but yeah, I do like the fact that it's kind of opened the world to some of our artistic endeavors that might not necessarily get to see. Like, I wouldn't necessarily get to see that show, but now I can. And that's, that's really exciting, you know, and just to have those opportunities. So yeah. [00:34:06] Shawn Kilgore: Absolutely. There've been some crazy-- I just finished a project where it was eight actors, all in different states, all working with green screens. And it was a sketch comedy show, and that would have never happened, you know, if this didn't happen. So yeah, absolutely. There have been some, some good, some really interesting and cool things to come out of it, for sure. [00:34:27] Lindsey Dinneen: Yeah, absolutely. Well, first of all, your stories are just so fantastic. And I literally have been sitting here smiling the whole time. So this has been fantastic and wonderful. And I do have three questions that I always like to ask my guests if you two would be up for that. [00:34:44] Shawn Kilgore: Sure. [00:34:45] Natalie Cordone: Oh yeah! [00:34:46] Lindsey Dinneen: Okay. So first of all, how do you personally define art or what is art to you? [00:34:52]Natalie Cordone: Ooh. I feel like we should have studied. All right. So what is art to you? Apparently we answered this earlier and the answer is like a drug. I think art to me is self-expression in a way where you're attempting to communicate something that is incommunicable to another person. [00:35:10] Shawn Kilgore: That's good.  I think for me, it's the opportunity to escape. [00:35:16]Lindsey Dinneen: Yeah, absolutely. And then what do you think is the most important role of an artist? [00:35:23]Shawn Kilgore: To keep it alive, to keep it going. [00:35:26]Natalie Cordone: I think for me, it's to tell the truth, whatever your truth is in that moment, to be vulnerable enough, to be honest, in a way where you are sharing something real, sharing a piece of yourself with people that you might never meet or really get to know. [00:35:46]Lindsey Dinneen:  Yeah. Yeah, absolutely. Okay. And then my final question, and I'll define my terms a little bit, but do you think that art should be inclusive or exclusive? And what I mean by that is inclusive referring to artists who put their work out there and provide some context behind that, whether it's, you know, as simple as a title, or whether it's show notes, whether it's the context behind it, the inspiration sort of that, that prompted it. Versus exclusive referring to artists that put their work out there, but don't provide the context and basically leave it solely up to the viewer to determine what they will. [00:36:22]Shawn Kilgore: I, for me, I think inclusive because it should be also about the educational piece of it and to let young people growing up today know how it all works, you know, and hopefully to be able to inspire.  [00:36:37] Natalie Cordone: Yeah. I think for me it can be, it can be valid in either direction. I think it's really up to the discretion of the artist as to what they want that experience to be for their viewer or their audience. I know for myself, I much prefer to make what would be considered inclusive art. And I think for the most part, I prefer to be the viewer of it as well. But I think that both of them are valid. It just depends on what the project is. I think, I know that wasn't really an answer, but I'm gonna, I'm gonna pick D, all of the above. [00:37:13] Shawn Kilgore: That's always the best-- if it's an option, I'm going with it. [00:37:17] Lindsey Dinneen: Right, right. No. And, and you're absolutely right. You're both right. I mean, there's value in both. And, and I think it's, it's really interesting to hear the answers to that particular question, because everyone has a different, you know, opinion, just like art is subjective, so is that question. I love it. Well again, thank you guys so very much for being here today. I'm just so thrilled to hear your stories. And I'm, I'm very excited about what you guys are doing. I'm going to mark it in my calendar to catch that live stream, because that's really exciting to me too. And, you know, with your, with your live shows that you're doing weekly, I think-- I just know that what you bring to the world brings so much positivity and light and value. And I just commend you two for doing that. And for choosing to look on the bright side, choosing to highlight the good that's happening, because that is so needed. And I just know that what you're doing is making a tangible difference in people's lives. And so I just want to commend you for that. And thank you for that because you know, it, it does take you time and effort and I appreciate it. So thank you. [00:38:29] Shawn Kilgore: That's very nice, Lindsey. Thank you so much. This was really a lot of fun. [00:38:33] Natalie Cordone: Yeah. Thank you. And we hope that you will be a friend of our show. We would love to have you on as a guest, not to put you on the spot, but we would love to have you. And so hopefully we'll get a chance to collaborate again because your spirit is so open and kind, and the work that you do here to, to gain the following of the people who rely on getting to hear you every week. We just were glad that we were able to share. [00:38:54] Lindsey Dinneen: Yeah, of course. And, oh my gosh, yes! I would absolutely love to be a guest. That would be a huge honor. [00:39:01]Natalie Cordone: We'll have our people call your people. [00:39:04]Lindsey Dinneen: Oh my gosh. Well, thank you again so much. I'm very much looking forward to that opportunity as well, but also, thank you so much for everyone who has listened to this episode. And, oh my goodness, if you're feeling as inspired as I am right now, I would just love if you would share this episode with a friend or two and we will catch you next time. [00:39:26] If you have a story to share with us, we would love that so much. And I hope your day has been Artfully Told.

Chatting with Gord Alexander from multiple metal acts out of Edmonton and from my favorite Instagram account ever Sundays Are For Meat! https://www.facebook.com/TessituraMetal https://www.facebook.com/Immunizemetal https://www.facebook.com/TidesofKharon https://www.instagram.com/sundaysareformeat/ Trash Talk Youtube! https://youtube.com/channel/UC64FKOL6qFEUGy6DYhYUM5Q?sub_confirmation=1.

Tessitura, telai manuali e una prima scuola di tessitura Carlo Colombo Il nostro passato é il nostro futuro, il racconto di un tessitore 2.0, tra il recupero di telai manuali per al realizzazione di "tessuti d'arte" e una esperienza di scuola di tessitura con la gentile partecipazione di Carlo Colombo Storie di creativitá da un'idea di Veronica

Andrew Recinos is the President and CEO of Tessitura Network, a member-owned non-profit dedicated to advancing the business of arts and culture through technology, service, and community. In this episode, Andrew shares what he’s learned from hundreds of arts leaders during his nine-month "listening tour" before becoming CEO of Tessitura. He also discusses what it’s like to take on a new role during a pandemic and explains why he’s confident the arts will experience a surge when venues can safely reopen.

TESSERE SOGNI una storia di Natascia Aquilano da Varanasi, india-“Tessere un sari con trame broccate in seta, unicamente a mano, oggi più che mai equivale a tessere un sogno, sinonimo di cultura e identità”⠀-Foto e testo originale: https://doogreporter.com/tessere-sogni----------------------------Testo e voce ©2021, Natascia Aquilano | photographerDistribuzione ©2021, DooG Reporter | stories to share

Today's show is all about figuring out how to pick songs that best fit your voice. Sometimes we sing a song that doesn't match what our voice can do. Tara shows you 7 ways to get it right so you can thrive in your performing. Resources for you for getting sheet music online: sheetmusicplus.com and musicnotes.com Resources for apps that can be for accompanying you sing: Appcompanist         iRealPro Helps for picking songs: Look at the range of the total song. Tessitura—the pitch range that frequently occurs throughout the piece The Genre of music—some genres require different qualities in a voice. Flexibility vs holding out slow and steady—lyrical voices usually are able to be very flexible while dramatic voices are able to allow a sound to be full when it's super slow. Syncopation vs Straight Rhythm—Figuring out what rhythms best fit your voice. Key of a song—checking the lowest and highest note to make sure it fits your range comfortably Singing in another language: If you know another language or an easily pronounce other languages, these might fit you. If you still can't decide on a good song for you, pay attention to how your audience responds to the songs you sing.  “Take note of the songs that really move them (the audience).”   To get your own throat spray or other products from Vocaleze at 15% off, please click here: http://vocaleze.refr.cc/tarabrueske   You can find this and other episodes at Stitcher, Google Podcasts, Spotify, iHeart radio, and Apple Podcasts. Please go to Apple Podcast and click on RATINGS AND REVIEWS to rate this podcast. I would be so grateful! Thank you! https://podcasts.apple.com/us/podcast/the-engaging-voice/id1448497465

Nell'episodio di oggi l'imprenditore associato Marco Ruggeri di Gitalia Jacquard ci racconta di come la sua azienda tessile è riuscita a resistere e reinventarsi nonostante il lockdown, con l'attivazione di una nuova linea produttiva grazie a un bando Invitalia.Per altre informazioni scrivi a gruppo.giovani@confindustrialeccoesondrio.it_______Non perderti le nuove iniziative dedicate ai membri del Gruppo Giovani Imprenditori di Confindustria Lecco e Sondrio! Metti Mi Piace alla Pagina Facebook Ufficiale: https://www.facebook.com/ggi.leccoesondrio ISCRIVITI AL GRUPPO FACEBOOK per poter vedere le visite aziendali LIVE: https://www.facebook.com/groups/ggi.leccoesondrio/

Think of your own voice – how it sounds and how it comes across in your performing.  There is such uniqueness in it because you are, YOU!  In this episode you will find help to narrow down your very own niche.  It may lead you into more assurance of your style and possibly may launch you into even other genres of music that fit your voice and lead to our goal of ease, health and pure singing enjoyment! Why classify a voice?  For comfort and ease.  Adriana Festeu writes on the online article Voice classification: System or Art: “One of the main reasons for the importance of classification is that regardless of repertoire, singing is ultimately about vocal comfort.”   There are 5 things to consider when classifying:  Tessitura, Color/Timbre, Range, Flexibility and Weight.   The most familiar classifications are: Soprano (1st & 2nd), Alto (1st & 2nd /contralto), Tenor (1st & 2nd) and Bass (baritone & bass).   The Germans broke it down further into Fachs meaning compartments.  They are Coloratura, Lyric, Spinto, Dramatic, Helden, Verdi and Basso-profundo.   Do not label yourself or others; you may end up feeling trapped.  But we can hone in on our strengths and music that fits our voice. To see and hear these different types of voices online, please go to: https://www.theopera101.com/operaabc/voices/     For more info, go to: www.theengagingvoice.com  For a free PDF of Ways to Practice the Voice Consistently,  please click here and grab your download:  https://mailchi.mp/16a4bd648eac/getfreevoiceinfo   You can find this and other episodes at Stitcher, Google Play, Spotify, iHeart radio, and Apple Podcasts. Please go to Apple Podcast and click on RATINGS AND REVIEWS to rate this podcast. I would be so grateful! Thank you! Apple Podcast Review  

Incontriamo Maeko per scoprire i tessuti sostenibili e il loro ambizioso progetto. Resto subito travolta dall’energia e dall’entusiasmo che lei e il marito Mauro (Vismara) pongono in questo progetto in cui credono molto, a costo di andare contro tendenza nell’attuale contesto industriale.Scopri di più nell'audioarticolo di Dress-ECOde.com, che puoi anche leggere qui:https://dress-ecode.com/2019/11/28/una-storia-tutta-italiana-incontriamo-maeko-per-scoprire-i-tessuti-sostenibili-e-il-loro-ambizioso-progetto/?preview_id=5933&preview_nonce=cf31e58555&preview=true&_thumbnail_id=6041Voce: Annamaria ViscoFoto: dal profilo Instagram di MaekoMusica: Hearthwarming di Kevin MacLeod (Licensed under Creative Commons: By Attribution 4.0 License)Dress ECOde e Audio-à-porter sono marchi registrati - allrightsreserved©

On Monday of this week I posted these questions in my Facebook Group: How do you decide the right key for a song? Are all your songs in the same key? Does it depend on the mood of the song? The reason I reached out to my group for help on this is because I am writing songs in preparation for recording and releasing them next year. This year I released five singles and really didn’t give much thought to the keys they were in, they just kind of landed where they landed. The whole reason I started releasing my own music again after a 10-year break was to find my voice, which seemed to be disappearing into function singer oblivion. I believe an integral component for rediscovering my voice is through understanding where my sweet spot is. The members of my FB group are all brilliant in their own rights, and many of them are singers and songwriters, so I felt I would get some answers that I could apply to my process. Wow, was I right. Keith Simon, singer extraordinaire said, “For me I think it’s about being able to utilize your vocal range to its maximum potential ... every song is different and unique ... and you wanna be able to comfortably sing/perform a song that brings out the best parts of your range.” My very first vocal coach and piano teacher, Pat Tyson, had this to say: “I tend to write in keys that are comfortable for my voice, but I also write in keys that are easy. Transposing is a gift that I'm grateful for!” And then, Amba Tremaine, Singer, Songwriter, Vocal Coach, Choir Leader and Teacher took me to school. She dropped a word on me that I had never heard before, Tessitura. Thankfully, she broke it down for me: Tessitura is the range within which most notes of a vocal part fall. An area of your voice that is comfortable and most commonly used. Amba goes on to say, “I have discovered that being able to sing high or low is one thing, but being able to do it well and for it to sound good is another thing entirely. Reaching those high whistle tones may seem impressive but 9 out of 10 times it sounds bloody awful. Every now and then we’ll need to pull out some impressive height for certain songs but it really does make a huge difference when you know where your voice sounds the best. This is where Tessitura comes in.” Amba’s process is to go to the piano and start talking about everything and anything. She then finds the note (more) --- Send in a voice message: https://anchor.fm/gloria-miller-music/message

Garrett and Amanda define range, make listening recommendations, and answer questions submitted by listeners. Follow us on Insta: @uptoyourearspodcast and Twitter: @uptoyourears or email us at @uptoyourearspodcast@gmail.com! For more info, visit http://uptoyourears.libsyn.com Due to a busy Thanksgiving break, detailed show notes for this episode will be available on our website ASAP! Spotify Playlist for Episode 07: Range

In questo episodio abbiamo chiesto al Giovane Imprenditore Matteo Pozzi della Pozzi Arturo SpA di raccontarci il suo punto di vista in tema di Brexit. La Pozzi Arturo SpA è un'azienda tessile di Barzago (LC) che tra i principali mercati di sbocco, ha quello del Regno Unito.

Greetings to all of you wonderful people !! Welcome to a new Pantheon and in this episode please welcome my guests.....Devon and Jesse from Concrete Funeral m/ Cliff from Cevillain m/ and Stefan , Cyn. Gord, Adam from Tessitura m/ !!!!!! Today we've got concert news , good news and sad news and all the things that come with life . Much love to you all !!! Thank you for letting me continue to do this, bless you all. 

The irony isn't lost on us. The latest album from extreme metallers Origin is a rather unique release. Before the band started tearing it up in the underground they had their humble beginnings. Now years later, Agonia Records is re - presenting those days in the form of "Abio-genesis - Coming Into Existence". Origin's musical origin. Although those days certainly belonged to axeman Paul Ryan, we had the opportunity to get vokillist Jason Keyser's take on the sitch. In town headlining night one of The Manitoba Metalfest, we caught up with Mr. Keyser. We discussed to the new record, his time in Skinless, and his degree in anthropology. Welcome back , Jas. In our "News, Views, and Tunes", we get into Ozzy's mishap and trade stories on the live front. Musically, we crank the new Origin plus cool tunes from Onslaught, All Hell, Protector, Saint Vicious, some classic Skinless, and introduce Canadian metallers Tessitura in the "Indie Spotlight". Horns!! 

Oi, meu nome é Daniel Flandri Sou vocalista e professor de canto E esse podcast é sobre a voz humana, canto e técnica vocal www.danielflandri.com.br E hoje vou falar sobre Extensão Vocal e Tessitura Para comentários, sugestões ou dúvidas, mande e-mail para contato@danielflandri.com.br Quer apoiar o projeto? Ajude via patronato: www.padrim.com.br/cadaumnoseucanto www.apoia.se/cadaumnoseucanto www.patreon.com/cadaumnoseucanto Para mais informações sobre mim, acesse o site www.danielflandri.com.br  

Dr. MATT SCHOLONEGER ES048 The purpose of Matt's study was to examine the use of dosimetry-derived tessituragrams and Voice Range Profiles (VRPs) in selecting appropriate voice repertoire for singing students. Matt’s project for the Van Lawrence fellowship, funded by a grant from NATS and the Voice Foundation, was a study in Voice Dosemetry - that is, measuring and studying individual’s voice range profiles - the actual pitch range and loudness range of a persons voice. Specifically, he focused on the voice load of songs - how much time on each pitch, how many vibratory cycles on each pitch - in different keys.    The singers were recorded singing the same song in 3 different keys. He got their own perception of difficulty, had an expert panel listen, and using the score, kind of like the map of the song, which he calls a score based tessituragram. With each singer he made a voice range profile with the dosemeter. (A dosemeter looks like earbuds on a hard collar, that sits around your neck and rests in the front. It measures skin vibration in the neck.)   He also looked at overall voice use through the day. He found that people think about how much they sing, but not how much they talk, or how loud the environment is.    ------------   To revisit the episode with voice scientist, Ingo Titze, you can look for episode 16 in your podcast player or visit the podcast page here. http://everysing.libsyn.com/016-every-sing-dr-ingo-titze-voice-scientist   Matt’s first episode on Every Sing was episode #2 http://everysing.libsyn.com/002-every-sing-dr-matthew-schloneger-on-voice-dosimetry   You can find Matt @ Friends University in Wichita, KS   matthew_schloneger@friends.edu   Others involved in Matt's project: Eric J. Hunter, PhD, Dept of Communicative Sciences and Disorders, Michigan State University  Lynn Maxfield, PhD, National Center for Voice and Speech   Previous Studies  Thurmer, Stefan, “The Tessiturogram,” Journal of Voice 2, no. 4 (1988): 327–329.  Titze, Ingo, “Quantifying Tessitura in a Song." Journal of Singing, 65:1 (September 2008), 59–61.  Hanrahan, Kevin, "Use of the Voice Range Profile in Assigning Repertoire: An Evaluation." NATS National Conference, Salt Lake City, UT, July 2010 (Best Poster Award) Nico Paolo Paolillo and Frano Fussi, “The Vocal Score Prole/Vocal Range Prole Rate and APM in Artistic Voice Evaluation: Application Tested on Opera and Musical Singers; An Evaluation of Voice Suitability and Vocal Fatigue,” in Claudia Manfredi, ed., Proceedings of the Seventh International Workshop on Models and Analysis of Vocal Emissions for Biomedical Applications (Firenze, Italy, August 25–27, 2011), 85–92. Nix, John, "Measuring Mozart: A Pilot Study Testing the Accuracy of Objective Methods for Matching a Song to a Singer.” Journal of Singing, 70:5 (June 2014), 561-572 Thanks Go To The Van L. Lawrence Fellowship – The Voice Foundation and the National Association of Teachers of Singing Matt’s work was partially supported by the National Institutes of Health Grant R01 DC012315 from the National Institute on Deafness and Other Communication Disorders.

Nate and Matt's podcast called "The Concrete Wasteland" that focuses on aggressive and alternative music in the Canadian music scene. to submit your band go to https://www.octavestudiosmh.com/cwpodcast

Today on the show please welcome my amazing guest ....Mr. Steve "Lips" Kudlow from ANVIL M/ on The Pantheon !!!!!! I've got the news you wanna know about and don't forget to purchase your tickets to the metal for mutts charity event with TESSITURA, TIDES OF KHARON, ILLYRIAN, AND TALES OF THE TOMB M/ ONLY AT THE RENDEZVOUS !!! DECEMBER 1ST M/ STAY TRUE BELIEVERS M/ BE GOOD TO ONE ANOTHER M/

This episode of the podcast is all about Calgary's Decimate Metalfest taking place at Distortion Live Music Venue on June 7th-10th. I got the chance to talk to members from three of the different bands playing the festival and do a little interview. First up was Chris McCrimmon, lead guitar player of Calgary's own Widow's Peak (Facebook Twitter Instagram), next was Jeff Wilson, lead guitar player of Ontario based metal band Sludgehammer (Facebook Twitter Instagram), and finally I spoke with Stef Barburou Jomphe, lead singer of Ontarion based metal band Insurrection (Facebook). You can find tickets for Decimate Metalfest HEREFollow Decimate Metalfest on social media for up to date informationFacebook Twitter Instagram WebsiteA little more about Decimate Metalfest:DECIMATE METALFEST is the brainchild of Sloan Voxx of Voxx Promotions, which is destined to become an annual Canadian metal pilgrimage to Calgary, Alberta, Canada. With the many yearly festivals becoming part of the national metal heritage, Sloan wants DECIMATE METALFEST to become one of the best-known events alongside the various festivals located within Alberta, and Western Canada. With Voxx Promos booking and promotional experience, and the support of metalheads internationally, there is nothing to stop them from reaching their goal of bringing in the masses and putting on incredible metal festivals for years to come!Voxx Promos was the head promoter for Canada’s Extreme Metal Radio’s CEMR Metalfest in 2017 (https://www.facebook.com/events/222522428193641/), which showcased a killer line up of Western Canada’s up and coming metal bands such as Terrifier, Planet Eater, Display of Decay, W.M.D, Vile Insignia, Path to Extinction, Tessitura, Anarcheon, Kelevra, Train Bigger Monkeys, Ye Goat-Herd Gods, Detherous, Juliet Ruin, Augurium, Anti-Pattern, Forsaken Rite, Graveyard Nemesis and Benevolent Like Quietus.DECIMATE METALFEST promises to be bigger and better than the executed festival next year and its pending lineup will certainly not disappoint.Festival organizer Sloan Voxx comments: “We are so excited to be embarking on the adventure of starting our very own Metal Festival! We’ve been very fortunate to have worked with so many incredible people and bands in the past and we value them so much. What better way to spend a weekend than to bring them all together for 3 days of epic music and entertainment! We have a great team on board and we can’t wait to get this fest off the ground with the help of seasoned and up-an-coming metal bands of all kinds! Let’s do this! DECIMATE!”If you would like to support the show please visit our Patreon Page. You will gain access to bonus content that you can only find there. Also please subscribe to our Youtube Channel for access to exclusive content as well

In dieser Folge gebe ich meine Tipps für Komponisten im Umgang mit Sängern weiter. In Workshops und Vorträgen an Musikhochschulen habe ich viele Fragen beantwortet. Hier mein Best of mit folgenden Themen: -Atmen -Tonumfang, Tessitura, Besonderheiten -Tonhöhe -Mikrotöne -Vibrato/Non-Vibrato -gutes Feedback und guter Umgang mit Sängern -die Stimme ist im Körper und somit Teil des Menschen -Nicholas Isherwood: Die Techniken des Gesangs, Bärenreiter Verlag

Granha joins the Steyoyoke Recordings family and instils his place with the latest Steyoyoke Black podcast. Depicting all things deep, dark and ethereal, it’s an hour long interlude designed to tantalise and tease all your aural interests, all whilst introducing you to Steyoyoke’s most recent member. Piecing together a track listing with a large number of big name artists, Granha has selected some exceptional tracks. Names such as Dave Seaman, YokoO, Josh Wink, Freakme, Mano Le Tough and Stephan Bodzin all appear, as well Granha’s own ‘Opus 52’ and ‘Tessitura’, which both feature on his ‘Aria’ EP. http://www.steyoyoke.com/

Big news for the world of animation! Nickelodeon is up to some great things. We’ve also got our eyes on the Apple Watch and how apps for this new device will rely heavily upon the human voice. Speaking of which, do you know where your voice sits? Stephanie and Carmi talk about vocal range and […]

Bob Wilcox and Gerry Kowarsky review (1) SUNDAY IN THE PARK WITH GEORGE, by Stephen Sondheim and James Lapine, at the Repertory Theatre of St. Louis, (2) ON GOLDEN POND, by Ernest Thompson, at The Black Rep, (3) TESSITURA, at Circus Harmony, (4) LA CAGE AUX FOLLES, by Jerry Herman and Harvey Fierstein, at the Fox Theatre, (5) SEE HOW THEY RUN, by Phillip King, at the Theatre Guild of Webster Groves, (6) THE SEAFARER, by Conor McPherson, at West End Players Guild, and (7) THE ELVES AND THE SHOEMAKER, by Sarah Brandt & Neal Richardson, at the Imaginary Theatre Co.