Podcasts about yuval sharon

Today in AI is a daily recap of the latest news and developments in the AI industry. See your story and want to be featured in an upcoming episode? Reach out at tonyphoang.com Yuval Sharon's production at the Detroit Opera House merges classical opera with modern technology, replacing the traditional overture with a tech company CEO's product launch. This innovative approach not only modernizes the setting and themes but also delves into the cultural and ethical implications of AI in the arts. It challenges traditional narratives and ignites contemporary discussions about creativity and gender roles, pushing the boundaries of how opera can reflect and critique modern society. Joelle Pineau, a prominent figure in artificial intelligence, is stepping down from her position as Meta's AI research head amidst a highly competitive and innovative industry landscape. During her tenure, Pineau has been instrumental in driving significant advancements in AI, emphasizing ethical practices and promoting open-source AI development. Her departure is notable as it coincides with Meta's first LlamaCon AI conference, marking the end of an era and the beginning of new leadership in Meta's AI research division. Anthropic has revised its responsible scaling policy to strengthen safety protocols for AI models, focusing on preventing potential misuse, such as the development of chemical or biological weapons. With substantial investments from tech giants like Google and Amazon, Anthropic remains committed to ethical AI development. The company continues to advance its technologies, including the Claude chatbot series and interpretability research, ensuring that safety and ethical considerations remain at the forefront of its innovations.

[@3 min] Alright, this week...we go Inside the Huddle with Yuval Sharon! The stage director, author, and administrator, who is famous for the parking lot Gotterdammerung and Backwards Boheme(™), is currently exploring artificial intelligence in his new concept for Cosi fan tutte. Sharon joins us to preview that upcoming production for Detroit Opera AND to answer the age-old question: Is there any opera in the standard canon that is fine just the way it is? [@25 min] And then…it's our annual March Madness bracket. Find out which summer opera festivals made it to the Sweet Sixteen, and we put the call out to you to help pick the Elite Eight. [@33 min] Plus, in the ‘Two Minute Drill'…the Laffont competition crowns five singers, and JD Vance gets booed at the Kennedy Center - that's good news for most of us. GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 bsky @operaboxscore

In this week's show, John talks to opera director Yuval Sharon about the past and perhaps future rebirths of opera, while advocating for the relevance of this provocative art form. Yuval's new book, A New Philosophy of Opera, is lucid, persuasive, passionate, and fun.

Yuval Sharon and the Detroit Opera are shaking up the opera scene in Detroit. As artistic Director since 2020, Sharon has brought viewers unique performances during the pandemic and beyond. The Opera's upcoming season will continue to push the boundaries of how opera is presented. Contributor Cecelia Sharpe of 90.9 WRCJ talks with Sharon about the 2024-2025 season, his contract extension and more.

Yuval Sharon is known for infusing both new and classic operas with fresh relevance. Now, the artistic director of the Detroit Opera is out with a new book that makes the case for opera that speaks to the modern audience. We spoke with Sharon about A New Philosophy of Opera, and why he thinks opera is an art form born for reinvention.  GUEST:  Yuval Sharon, artistic director of the Detroit Opera  Looking for more conversations from Stateside? Right this way. If you like what you hear on the pod, consider supporting our work. Music in this episode by Blue Dot Sessions.See omnystudio.com/listener for privacy information.

Yuval Sharon, Detroit Opera's creative director, is an industry disruptor who's electrified the company's repertoire. He directed a production of "Bliss", a 12-hour performance that took place in a decaying palace - the Michigan Building Theater. The company also presented Puccini's "La Boheme" in reverse, flipping the tragedy to begin with death, and end with love. We visited Yuval Sharonat the Detroit Opera House for a peek behind the curtain of this performance season. GUEST: Yuval Sharon, Detroit Opera creative director ___ Looking for more conversations from Stateside? Right this way. If you like what you hear on the pod, consider supporting our work. Music in this episode by Blue Dot Sessions.See omnystudio.com/listener for privacy information.

Detroit Opera Artistic Director Yuval Sharon speaks with 90.9's Peter Whorf about the upcoming production of X: The Life and Times of Malcolm X, composer Anthony Davis, and title role baritone, Davóne Tines…

Ryan Patrick Hooper sits in for Stephen Henderson. He is joined by two teachers to discuss how best to explain the war in Ukraine to kids using the metaphor of sports; and, Yuval Sharon of the Detroit Opera discusses the theater's name change and La Boheme, which will open for the theater on April 2.

Yuval Sharon, Artistic Director of Detroit Opera, talks with Dave Wagner about the return of opera on Saturday April 2nd in a new production of La Boheme by Giacomo Puccini, presented in reserve order!!

If someone would ask me to describe this episode, I would say two words - beauty of thought and gratefulness.  On the last day of 2021, I am sharing this spiritual, but also very down to earth conversation with soprano from Barcelona  Serena Sáenz. Serena is among those remarkable people who I have been lucky to meet while living and studying in Barcelona. Little did we know that in 5 years since then, Serena will be singing with the world famous conductors including Daniel Barenboim and that during her first season as a member of the Staatsoper Berlin International Opera Studio, Serena will be asked to jump in as Pamina for the opening night of Yuval Sharon's production of Die Zauberflöte (The Magic Flute). I am so thrilled to be able to bring you this conversation which, I believe, is the best fit to positively end this year and gracefully start the new year. Enjoy and Happy New Year!About Serena SáenzSerena's IGAbout the spiritual practice Serena mentioned.Be part of openARTed - patreon.com/monikamasanauskaiteEpisode music - M. Ravel - "Ondine" performed by M.MašanauskaitėLucia di Lammermoor's, Mad scene “Il dolce suono” performed by Serena Sáenz and pianist Ricardo EstradaCheck more info about the host Monika Mašanauskaitėwww.monikapianiste.com/https://www.instagram.com/masanauskaitemonika/https://www.facebook.com/MonikaPianiste/Listen on YoutubeIf you have any comments or enquiries, drop me a line at openartedpodcast@gmail.com or monikapianiste@gmail.com  

Keturah interviews Douglas Kearney, a renowned poet and librettist who is the inaugural recipient of the Campbell Libretto Prize through Opera America.  They talk about his work with Yuval Sharon and The Industry in LA, his work as a poet, and his philosophy of writing performative text.Douglas Kearney: https://www.douglaskearney.com/Anne LeBaron: https://www.annelebaron.com/The Industry LA: 

Maybe you've experienced Wolfgang Amadeus Mozart's beloved opera The Marriage of Figaro before – but probably never like this. This Saturday in downtown Detroit, Michigan Opera Theatre plays host to the Mozart masterpiece in a startling new way. WRCJ's Dave Wagner speaks with MOT Artistic Director Yuval Sharon and new Director of Innovation, Matthew Principe about Bliss – the reimagining of one music's most sublime moments.

In this hour Stephen Henderson speaks with Chris Collins about this year's Detroit Jazz festival. Plus, Kaneza Schaal and Yuval Sharon of the Michigan Opera Theatre on the new production "Blue" about race, police brutality and family.

Jason and Kaitlyn began their journeys in different ways, from a family that was open to following an artistic path, to another that was more resistant to it. However, via routes from lighting design to training as an architect, their paths collided in the world of projection design, and they eventually founded PXT Studio, building bespoke designs and making the seemingly impossible possible. When Jason first met the opera director Yuval Sharon, it was the start a unique relationship that would draw Jason and Kaitlyn into the world of opera, where they have been delighting and astonishing audiences ever since.  They have created work from The Industry in LA, to the Vienna State Opera, to Oper Frankfurt, Carnegie Hall, and on Broadway among many other venues. Collectively they have won two Los Angeles Ovation Awards, three LADCC awards, as well as having their work showcased at the Prague Quadrennial on three separate occasions... And at the end of the day, the parents were definitely won round. Find out more about Jason & Kaitlyn & their work at PXT Studio here Read about the opera director Yuval Sharon here Read about The Industry here Scroll down to the hurricane scene we talk about & watch it here

Join Emily and our guests Yuval Sharon, Christine Goerke, Marsha Music, and Eliot Heaton from Michigan Opera Theatre to hear about their recent production of “Twilight: Gods”. Performed throughout a parking structure, audience members watched the production from their cars for a brand-new safe and immersive experience that brought opera to the Detroit community.

Directed by new artistic director Yuval Sharon, the Michigan Opera Theatre is unveiling an adaptation of Wagner's “Götterdämmerung” to an audience on four wheels.

Since the 1960s, the Michigan Opera Theater has been serving metro Detroit, bringing not only impressive productions of opera, but music and dance to the Motor City. Recently, they have hired a new artistic director, Yuval Sharon. He has a fresh take on what can be done both inside and outside of the performance hall walls. So for your Daily Detroit on Thursday, September 17th, 2020, we talk about the present and future of this Detroit institution, being mindful of the number of challenges and opportunities of today. Leave a review on Apple Podcasts: https://podcasts.apple.com/us/podcast/daily-detroit/id1220563942?mt=2 Become a member on Patreon: http://www.patreon.com/dailydetroit  

On episode 098 of The Quarantine Tapes, Paul Holdengräber is joined by artists Yuval Sharon and Cannupa Hanska Luger. Yuval and Cannupa recently collaborated on the opera Sweetland. They talk with Paul about the future of opera and of artistic spaces in general, offering their thoughts on colonialism, postmodernism, and how opera will respond to the need for increased diversity. Their conversation touches on how this time in quarantine has given both Yuval and Cannupa the opportunity to reflect on their relationship with their artistic practice, digging into the role of community in art and what it means to advocate for change both inside and outside of institutions. Follow this link for more information about Yuval Sharon and his new position at the Michigan Opera Theater.https://www.nytimes.com/2020/09/09/arts/music/yuval-sharon-michigan-opera-theater.html

This week Yuval Sharon, Artistic Director of The Industry and co-director of that company's upcoming opera Sweet Land, joins host Noah Nelson to talk about his approach to making opera. Yuval has created the seminal works Invisible Cities and Hopscotch here in Los Angeles, propelling the conversation about how audiences engage with opera forward and raising the bar for immersive creators of every stripe.

Episode #100 with guest John Brancy on the power of voice, song, psylocibin mushroom and the journey of holistic visions.  Baritone John Brancy is “a vibrant, resonant presence” (New York Times) on the international opera, concert and recital stages. Brancy is the recent winner of the 1st Place Prize at the 2018 Montreal International Music Competition, 1st Place Prize at the 2018 Kurt Weill Foundation's Lotte Lenya Competition, 2nd Place Prize at the 2017 Wigmore Hall International Song Competition and the Media Prize at the Hans-Gabor Belvedere International Vocal Competition. This 18/19 season, Brancy performs an eclectic season of new music, his memorial in song recital tour and several key debuts in concert and opera. Brancy makes a return to Oper Frankfurt for a new production of Olga Neuwirth’s Lost Highway directed by MacArthur Genius grant recipient Yuval Sharon, conducted by Karsten Januschke. Brancy will then embark on a national tour of his critically acclaimed programs A Silent Night: A WWI Memorial in Song and Armistice: The Journey Home with internationally renowned pianist and collaborator Peter Dugan. This tour takes Brancy to locations such as Stanford University, West Point Academy, the Smithsonian Institute, the US Naval Academy and the Kennedy Center to name a few. Brancy then goes on to sing a tour of Handel’s Messiah with performances in Victoria Symphony in Canada, the Johnstown Symphony and a return to Carnegie Hall’s Isaac Stern stage under the baton of Kent Tritle. Brancy then makes his way to Lisbon, Portugal for a semi-staged production of Romeo et Juliet with the Gulbenkian Orchestra and Chor conducted by star ascendant conductor Lorenzo Viotti. Additonally, Brancy will collaborate again with director Yuval Sharon as a featured performer on a new production of Meredith Monk’s ATLAS, this will mark Brancy’s debut with the LA Philharmonic. Brancy is also the co-creator of Operation Superpower, a Superhero Opera for children that aims to combat bullying through the courage of knowing and believing in one's own Superpower and voice.

Am 26. Juli feierte Wagners "Lohengrin" in der Inszenierung von Yuval Sharon seine Wiederaufnahme bei den Bayreuther Festspielen. Überzeugen konnte er mit seinem Regiekonzept noch immer nicht. Trotz der lähmend statuarischen Regie wurde es ein musikalisch erfolgreicher Abend, was vor allem an dem wunderbaren Dirigat von Christian Thielemann lag. BR-KLASSIK-Kritiker Fridemann Leipold war bei der Premiere dabei.

About This Performance:Meredith Monk's ATLAS receives a staggeringly ambitious new production by the LA Phil's Artist-Collaborator Yuval Sharon, collaborating with visual artist Es Devlin. This landmark work from one of modern music's most influential composers weaves a tale about a young girl's journey to the four corners of our world and beyond. Sharon's production incorporates visual art, movement, and an innovative use of Walt Disney Concert Hall to cap his three-year residency with the orchestra. Program:Meredith MONK : ATLAS, an opera in three parts Artists:LA Phil New Music Group Paolo Bortolameolli conductorYuval Sharon directorEs Devlin designerLuke Halls projection designerDanielle Agami choreographerEmma Kingsbury costume designerJohn Torres lighting designerMeredith Monk composer / artistic advisorKatie Geissinger music coachWayne Hankin music advisorDiana Wyenn associate directorJeannette LoVetri vocal consultantMark Grey sound designerAmalie White associate designerAllison Sniffin score preparationStefanie Cytron costume supervisorDan Gower audio engineerBarbara Donner stage managerRoss Jackson assistant stage managerLindsay Lowy assistant stage manager FRI / JUN 14, 2019 – 8:00PM Upcoming concerts: www.laphil.com/calendar Upbeat Live schedule, details, and speaker bios: www.laphil.com/ubl

In Episode 19 of the Time To Be You Podcast, Hila Plitman, Grammy award winning vocalist, teaches her listeners exactly how to tap into their creative flow, citing the importance of just getting the process started and putting work out into the world, “even if you think it’s junk.” Besides her work in opera and contemporary classic music, Hila is an active songwriter, actress and mother of a young teenager. While juggling all these roles can prove difficult, Hila is no stranger to putting in the hard work necessary to fulfill all the roles she pleases. Hila has been working in the music industry since she herself was fourteen, and works smart, outsourcing the tasks she doesn’t gain energy from.   -- Questions asked in this episode: 1. Give us a brief background of yourself and what you do? 2. When writing and singing, how do you tap into your creative side when you are also a mother and so many things? 3. How does tapping into your creativity help run your business? 4. In songwriting I know artist tend to have a lot of self-judgement, how do you come from a place of just creating and not thinking about who will or will not like it? 5. How do you tap into the feelings of your body to create? 6. What would you say to someone that hasn't tapped into their creative energy or buried it for a long time, how do they get it back and nurture it?   --   Bio: Grammy award-winning vocalist Hila Plitmann is a glittering jewel on the international music scene, known worldwide for her astonishing musicianship, light and beautiful voice, and the ability to perform challenging new works. She has worked with many leading conductors, including Leonard Slatkin, Esa- Pekka Salonen, Thomas Adès, Carl St. Clair, Giancarlo Guerrero, Robert Spano and JoAnn Falletta, performing with the likes of the Los Angeles Philharmonic, the New York Philharmonic and the London Symphony Orchestra. Hila is also emerging as a unique crossover artist, and her own songs and arrangements can be heard on YouTube and in live concert. She has accumulated an impressive catalogue of varied recordings, including Hans Zimmer's Grammy winning soundtrack for The Da Vinci Code, Eric Whitacre’s Good Night Moon with the LSO, and Oscar winner John Corigliano’s song- cycle Mr Tambourine Man with the Buffalo Symphony (for which she won a best female vocalist Grammy).   Some of her recent discs are Richard Danielpour’s Toward A Season of Peace and Corigliano's Vocalise, both released to critical acclaim on NAXOS. In constant demand as a singer of new and contemporary music, Hila Plitmann has appeared as a soloist in numerous world premieres, including: Pulitzer Prize winner David Del Tredici’s Paul Revere’s Ride with the Atlanta Symphony Orchestra; Frank Zappa’s orchestral staged version of 200 Motels with the Los Angeles Philharmonic; the Dallas Opera world premiere of Mark Adamo's Opera Becoming Santa Claus; Richard Danielpour's Darkness in the Ancient Valley with the Nashville Symphony Orchestra; and Yuval Sharon and Annie Gosfield’s War of the Worlds with the Los Angeles Philharmonic. She has a black belt in Tae Kwon Do and lives with her son and their cat in Los Angeles. www.hilaplitmann.com   -- Follow Laura on Instagram! https://www.instagram.com/laura_loveandfit/

Die Tradition mit der Moderne verbinden, ein Kunstwerk auf die Bühne bringen – Opernregisseur Yuval Sharon über den neuen Lohengrin. Der Beitrag Der neue Lohengrin: Interview mit Yuval Sharon erschien zuerst auf BF Medien.

Weltweit warten die Wagnerfans gespannt darauf, wie Regisseur Yuval Sharon gemeinsam mit dem Künstlerpaar Neo Rauch und Rosa Loy für Bühne und Kostüm den "Schwanenritter" in Szene setzen wird. Yuval Sharon über seinen "Lohengrin".

Hi Friend, Welcome to Episode 38 of Sally’s Performing Arts Lab Podcast Show Notes and Blog. You've got your show. You've got your team. You might even have a few set pieces and costumes. But you have nowhere to perform. Today, I talk venues! I’m your SallyPAL podcast host, Sally Adams. Every week I talk to people about creating original work for a live audience. Send an email anytime to Sally@sallypal.com. Your ideas keep great conversations coming every week. Check out sallypal.com/join for a cool free theatre resource. It’s never too late to sign up to have access to the Creator’s Notebook inserts. I’m interested in knowing what creators need as a performing arts resource. If there are things you want included in the Creator’s Notebook, let me know by sending an email to Sally@sallypal.com! I read them all… Be sure and listen until the end of the interview for Words of Wisdom from George. Finding a venue is one of the trickiest areas for the performing artist. We often think about venues as a place with a stage and lighting and seats for an audience. But there are so many other options. In fact, today it’s even possible to create a virtual venue. But we'll start with bricks and mortar. When looking around for a space where you can invite an audience into an area to see a performance, you need a couple of things: Space to perform, and space for an audience to experience the performance. Traditionally, this is known as seating. But, of course, there are plenty of examples of shows with no actual seats for an audience. This could be anything from bringing their own seats as they would at a performance in a local park, or rave seating like Fuerza Bruta in New York where the audience stands and moves around for the entire show. You’ve probably seen live bands perform for dancing audiences. For now let’s concentrate on the type of show where you're trying to tell a story to an audience and you want the audience to be focused on the story. This could be improv, dance, a play, an opera, you get the idea. When considering venues, there are two important things to consider with a story show: 1) Is the space appropriate to the production’s size? 2) Can every audience member see and hear the performance adequately? Let’s address the first question. “Is the space appropriate to the production’s size?” There are performances where the performers outnumber audience members even when there’s a full house. This happens sometimes with children’s plays and dance recitals. Every family needs a ticket to see the kids perform. This is a pretty good problem to have. If you’re worried about the size of the venue and whether it will be adequate for the size of the audience, look around for local options. Churches and schools who rent auditoriums to large groups for fairly reasonable rates. Museums, libraries, and universities will sometimes fill the gap with large lecture halls and recital spaces. More often than not, the problem isn’t having too big an audience, but having an audience that barely fills the front row. In a space is built for all-school assemblies it’s hard to enjoy a small show. A friend of mine who teaches at a public school in Tulsa, Oklahoma was able to solve this problem. A cavernous auditorium will swallow a small audience of parents and friends. My friend created seating on the actual stage. She then closed the main curtain. This created a space where the audience sat on three sides of a make-shift stage in the center of an enormous main stage. It kept the performance intimate. And the audience was able to enjoy the show without the gulf of separation many older school buildings have. Other solutions include arranging for a show in a large room of someone’s home, or a backyard stage is an option. Many coffee houses and brew pubs have small performance areas. You can often find galleries, and dance studios that will open their doors to a performance group. There are plenty of basement theaters in big cities including New York and Chicago. As a member of an improv troupe I’ve had some great experiences performing in a yoga studio. There are so many options, it’s sometimes a matter of matching the venue to the performance. In 2015, the avant-garde opera company the Industry staged it’s new opera, Hopscotch, in 24 cars on the roads of Los Angeles. Audience members were chauffeured in limos where scenes from the opera took place both in the cars and in parking lots. The company performed 24 live chapters over the course of 90 minutes. Tickets were naturally limited, so cameras and mics in each limo allowed director Yuval Sharon to live-stream the action to a central hub. Using 24 screens in the round, the public could watch the opera for free. Granted, this is a pretty expensive and technically challenging idea. We can start to see options for performances that would allow for unusual venues that enhance, rather than detract from, the performance. Get creative, look around your community. What’s available? What environment enhances your story? I once saw an opera by Henry Mollicone titled, The Face on the Barroom Floor performed in a bar. Bars are noisy, as you can imagine. But like all venues, there are positives and negatives. The second consideration regarding a venue is “Can every audience member see and hear the performance adequately?” This question can be broken down into three parts: 1) Do the site lines allow for every member of the audience to see the show? 2) Is the lighting adequate? 3) Can the audience hear and understand the show? (I mean, of course, can text and lyrics be understood not whether the ideas are too esoteric.) Let’s talk about site lines first. By site lines, I mean: Is there an unobstructed line of site between each member of the audience and the area you want them to see? You might also include consideration for areas you do not want them to see. These include back stage, the mechanics for onstage effects, or the venue’s bathroom door. Check the site lines by parking yourself in various areas where an audience member might sit and actually see things from that perspective. You don’t necessarily have to sit in every seat to determine if site lines are good. But you know that if there’s a pillar in the middle of your seating area, you want to avoid putting someone behind it. This actually happened to me when I saw Dreamgirls on Broadway. I guess a cheaper ticket in this case meant sitting behind the pillar that held up the balcony section. I spent the entire show leaning left and right and getting friendly with my neighbors. You definitely don’t want the audience distracted by things like bathrooms and exit signs. It's really annoying when exit doors open onto brightly lit hallways during a performance. It’s important to give your audience some guidelines. I often say in this podcast that your audience is the final collaborator. Give them parameters so they can be engaged as collaborators. Remind audience members before each performance to turn off cell phones, and thank them for coming. If your audience is new to live theatre, remind them that the actors are also live human beings engaged in telling a story. I’ve seen people take flash photos of dancers leaping and held my breath waiting for the dancers to land safely. Those announcements concerning flash photography are important for many reasons, including your performers’ safety. Once you have site lines and site line distractions managed, make sure the performance area is well-lit. There is a big challenge when setting up for an audience. That is, lighting the show so that the audience can see it. This is where traditional theatre venues have an advantage. Most theatrical spaces are already set up with stage lighting. If not, there are a lot of ways to light a stage from the super cheap to the hyper expensive. If you’re on a tight budget, a church or school venue may have lighting available for you to use on the cheap. they can sometimes even provide a lighting person. You can usually expect to pay your lighting person for rehearsals and performances. There are also companies that rent out lights. And lighting professionals who, for a price, will go to your venue, set up lights, teach you how to operate their lighting system, and retrieve the lights when you're done. Prices vary, but you can go and look at prices online or even talk to someone local about the costs specific to your needs. The lighting for a one man show is usually much less complicated than the lighting for a full cast musical. You might also consider asking organizations if they already have lighting for their venues. Sometimes parks departments have warehouses where they’ve stored lighting for years along with the holiday decorations. Sometimes they may not even know what they have. My husband, George, likes to say, “If you don't ask, you don't get.” So it never hurts to ask if the venue has lighting equipment. Always have the equipment checked out by a knowledgeable person. Fire hazards are real in the theatre world. If you’re working on a shoestring budget, consider a daytime performance in a mall or small park. Another thing you might ask about at a venue is sound equipment. This is a little trickier when you're working on an outdoor stage. Poor sound at an outdoor event can send audiences running for their cars, and it’s tough to adjust for the outdoors. Again, the people who provide your lighting may also have sound equipment. In Tulsa, a sound company I've worked with many times called Lone Wolf Audio provides professional guidance along with top notch equipment. The prices are reasonable, and they won’t make you feel like an idiot when you need to learn how to use the equipment. Matt will talk to you about your show’s sound and make sure you have what you need. Ask around in your community. The best technical people may not be the most expensive. You'll be able to get recommendations just like you do for hotels or doctors. In 2013, my daughter, Emile, put together her first production outside of high school at the Equality Center in Tulsa. The closest thing to a play they had done up to that point was a drag show. They basically gave her a low set price for the venue and set her loose in the small warehouse. She got a good deal from Lone Wolf Audio and Matt, the owner, came to set up her lighting. The space was small enough and the actors were loud enough to be able to perform without sound equipment. After rehearsing the show in our house for a few weeks, she moved the play to the Equality Center Warehouse. There the actors set up the stage and rehearsed for a week before performing for a full house. I hear the Equality Center now has a permanent black box theater. Knowing your space and what you can do in that space can be helpful. Many performance groups have a theatre or studio home where they can perform. But your home venue may not be perfect for every show you produce. If you have a venue available at a price you can afford but your show is not appropriate to that space, consider trading with someone who has a home space perfect for you show. It’s a great way to cross-pollinate your audiences and develop professional contacts and courtesies. We’ve been able to share costumes, sets, equipment, venues and even staff members at various locations. There’s a relatively new type of venue gaining a foothold in the world of live performance and that’s the digital venue. Watching a live performance on a screen has been around since the early days of television when you could watch nearly everything live. There’s something Homeric about the experience of sharing an event performed live. Just ask 103.4 million Super Bowl fans. And while I understand there is a difference between being in the same room with the performers and watching them on a screen, you are, at least, still sharing the moment. A few years ago I downloaded an app called Periscope so I could stop at a truck stop while traveling with my daughter, Emile, and we could watch a scene from her brother, Will’s, play performed live at a New York theatre. The connection was iffy, and the camera work was not great, but it was a thrill to be sitting in the middle of Nevada in a parking lot watching a live New York performance. Today there are options like FaceBook Live, Life On Air, Livestream, Periscope Producer, Roomsapp.live, Snapchat Live Stories, Streamup, Stringwire, Twitter Live, UStream, YouNow, and YouTube Live and especially for live casting theatre, there are Crowdcast and HowlRound. But almost any platform works. Keep in mind, permission is still necessary for live streaming anything or anyone. If you don’t have permission from the creators and performers, you don’t get to live stream or record the show on any platform. I hope this podcast helps to kick start your search for the perfect venue. Speaking of kick start, in addition to places online to find live streaming options, you’ll also find ways to fund your projects. I’ll go into some detail in another episode. But, just as there are uncommon venue options, there are also some funding options to consider when creating your event.  I hope you'll check out the blog, SallyPAL.com, for articles and podcast episodes. You, too, can be a SallyPAL. Sign up for a FREE Creator’s Notebook insert at SallyPAL.com/join.Thank you for following, sharing, subscribing, reviewing, joining, & thank you for listening. Thanks to Hannah for emailing me, it was awesome to hear from you!If you’re downloading and listening on your drive to work, or falling asleep to my Homeric form like my sister does, let me know you’re out there. I want you to pursue your dream and share your stories. Storytelling through plays, dances, music, and other types of performances is the most important thing we do as a culture. That’s why I encourage you to share your stories because you’re the only one with your particular point of view. And SallyPAL is here with resources, encouragement, and a growing community of storytellers. I want to help you tell your stories. All the stories ever expressed once lived only in someone’s imagination… Now… Go find a venue!  

Glenn Gould's Chair (Eyewear Publishing) Mandy Kahn’s wonderfully inventive and gloriously lyrical second collection of poems, Glenn Gould’s Chair, weaves composer biography and classical music terminology into a compelling, accessible, and unabashedly beautiful consideration of the creative life. In the collection, Béla Bartók treks into remote villages to record folk songs on the world’s first phonograph, a dying Gustav Mahler is greeted in heaven by Mozart, Igor Stravinsky receives a letter from a music student who wonders what rules are left to break, and Glenn Gould’s chair defends its owner against claims of eccentricity. Kahn—who also works as an opera librettist—explores the challenges and exaltations of art-making in poems that explode with curiosity, incisiveness, and awe—and that build into a lush celebration of the creative process. Kahn’s 2014 debut collection Math, Heaven, Time—also from Eyewear Publishing—prompted a reviewer from the Los Angeles Review of Books to write, “In using the word “remarkable,” I do mean that the collection is so extraordinary or exceptional as to invite comment. Or perhaps I should have called it striking, because it certainly impresses itself powerfully and deeply upon the observer’s mind or vision. From the moment I was first introduced to Mandy Kahn and her debut collection, I knew I had encountered a voice beyond the common realm...Of the influences she names, Thoreau seems to have left his transcendental nature print most prominently. There’s also a sense of Yeats’s splendor and, at times, the concision of Dickinson, but as with all true visionaries, her alchemy creates a completely new sound — a melopoeia that is both familiar and otherworldly.” Mandy Kahn is the author of the poetry collection Math, Heaven, Time. Former Poet Laureate Ted Kooser featured Kahn’s poem “At the Dorm” in his newspaper column American Life in Poetry. She frequently collaborates with composers to create new works that combine poetry and classical music and was a librettist for Yuval Sharon’s acclaimed opera Hopscotch. Kahn is coauthor, with Aaron Rose, of the nonfiction bookCollage Culture, which was also released as a record with a score by No Age. She lives in Los Angeles.

The Industry presents new and experimental productions that merge music, visual arts, and performance in order to expand the traditional definition of opera and create a new paradigm for interdisciplinary collaboration.