Central City Opera Podcast

Central City Opera is the fifth oldest opera company in the United States. The company produces a summer Festival every year in Central City, Colorado, featuring singers, musicians, designers, directors, and conductors at the top of their fields from all over the world. Join host Emily Murdock as she interviews the movers and shakers of the Central City Opera summer Festival.

SHOW NOTES: Season 6, Episode 7 - Behind the Scenes with Kerry Cripe and Angela Turner 07/30/2021

SHOW NOTES: Season 6, Episode 7 - Behind the Scenes with Kerry Cripe and Angela Turner Kerry Cripe, Technical Director Angela Turner, Stage Manager One of my favorite episodes to produce every season is the “Behind-the-Scenes” episode with folks on the production side of the magic that is Central City Opera. This year, Technical Director Kerry Cripe and Stage Manager (Rigoletto) Angela Turner joined me over Zoom to talk about this extraordinary summer. Kerry is also the Senior Technical Director for Yale Undergraduate Production at Yale College, overseeing hundreds of performances at Yale venues each year. Here’s the link to his page on . He also spent many seasons with the Colorado Shakespeare Festival in Boulder and the Utah Shakespeare Festival in Cedar City. Here are photos of those permanent outdoor venues. Colorado Shakespeare Festival, Boulder, CO Utah Shakespeare Festival, Cedar City, UT We first thought we’d be relocating the 2021 Festival to the Gilpin County Fairgrounds in Black Hawk, Colorado. Here’s a photo of that venue. Gilpin County Fairgrounds, Black Hawk, CO But because wildfire is a real threat in drought-prone Colorado, the county ultimately did not approve our permit request so the fairgrounds could be reserved as an emergency evacuation zone for livestock and other large animals in the case of wildfire. So – back to the drawing board. You all know, of course, that we ended up at in Littleton, which is adjacent to the South Platte River, southwest of Denver. The next six photos are from the set-up process in early June 2021, taken by our Director of Production, Karen Federing. Setting up the tent at Hudson Gardens Tent is up! Starting to erect the lighting truss Truss is completed Hanging the lighting instruments Custom-built stage deck, shared by both Carousel and Rigoletto CCO’s original supertitle system was a DOS-based system, a system which became available to personal computers back to 1981. For those young folks out there reading this who have never seen a hard drive disk, let alone know what DOS is…here’s some . :-) How much are outdoor-rated flat-screen TVs now? Plan on spending at least $3,000.00 for a . Angela and Kerry described the torrential rain that invaded the Denver metro area – and specifically Hudson Gardens – during our tech weeks in late June. Here are three photos by Director of Production Karen Federing that show the conditions. And what IS a monsoon? to find out more about this weather phenomenon from the Colorado Climate Center of Colorado State University. Set design elements by David Martin Jacques I learned a lot more about Gilda’s swing than I expected – everything is just a LITTLE more complex in theatre than anyone realizes. Here’s a photo by Amanda Tipton showing the swing in Steven Kemp’s design for Rigoletto. Photo by Amanda Tipton Kerry and Angela also talked about how the orchestra area evolved over the rehearsal period. Here’s a photo when there were only three patio umbrellas (we ended up with twelve). Photo by Karen Federing Angela and I are both former flute players! You never know how your music degree will translate into a career, and this reminds me of this on ten reasons to let your kid major in music. Angela mentioned the organization Opera America, a non-profit service organization that promotes the creation, presentation and enjoyment of opera in North America. It has proven to be a huge resource to all of us in the opera industry during the pandemic. Find out more at . Finally, Kerry commented on how excited he is about the huge outpouring of creative work that was born during the pandemic. I likened it to the Renaissance after the medieval Black Plague. Here’s an interesting article from published in July 2020, titled “How Pandemics Wreak Havoc and Open Minds.” It was so great to talk with Kerry Cripe and Angela Turner. Congratulations to them and the entire Festival company and staff of Central City Opera on a memorable, extraordinary summer! -Emily Murdock, Host & Producer /episode/index/show/ccopodcast/id/19977929

Season 6, Episode 7 - Behind the Scenes with Kerry Cripe and Angela Turner 07/30/2021

SHOW NOTES: Season 6, Episode 6 - Young Artist Spotlight - Bernardo Medeiros, Michelle Monroe, and Marin Tack 07/23/2021

SHOW NOTES: Season 6, Episode 6 - Young Artist Spotlight - Bernardo Medeiros, Michelle Monroe, and Marin Tack Bernardo Medeiros, Baritone Michelle Monroe, Mezzo-Soprano Marin Tack, Soprano It’s always so fun to sit down and talk with some of the current class of singers. Audiences do not get a whole lot of exposure to these singers in normal times – and THIS summer, there’s even less interaction between the public and the young artists, because of necessary performance eliminations due to Covid restrictions. So I really loved being able to talk with Bernardo, Michelle and Marin for a half hour over Zoom about what’s going on in their lives. Michelle was here back in 2019, and her most prominent assignment was The Narrator in Debussy’s THE BLESSED DAMOZEL, which was staged in Central City’s only Catholic church, Saint Mary of the Assumption. Here’s a photo of Michelle in that production. Michelle Monroe, right, in Central City Opera's THE BLESSED DAMOZEL in 2019. Photo by Amanda Tipton When asked about the role of “Louise” in CAROUSEL, Marin mentioned that she had dance training listed in her special skills section of her resumé. That got me curious – what special skills can be found in Bernardo and Michelle’s resumés? Highlights from Bernardo’s special skills include fluent Portuguese, conversational Spanish, piano and stage-combat, and Michelle’s include music education, endurance athlete, soldier skills, martial arts, piano, brass instruments, AND ballet, tap and jazz dance! Definitely a multi-talented group. Michelle dropped a couple contemporary opera titles as she was talking about the importance of presenting diverse, contemporary work to gain new audiences. AS ONE by Laura Kaminsky and Mark Campbell has been performed in over 40 different productions around the world since it premiered in 2014. Find out more and listen to excerpts . Seattle Opera commissioned AN AMERICAN DREAM by Jack Perla and Jessica Murphy-Moo in 2015, and you can find out more about it . Marin mentioned that she became active on TicTok during the pandemic…and yes, I found her account. Turns out she’s kind of a big deal on TicTok! See her videos and follow her here: . Keep up with Michelle Monroe through her on Facebook and her website, . Bernardo isn’t super active on social media, but I did find a profile about him on Opera in the Heights’ . It was so nice to talk with Bernardo, Michelle and Marin on the podcast! Bernardo stars as “Rigoletto” in the Nina Odescalchi Kelly Family Matinee of RIGOLETTO at Hudson Gardens in Littleton on July 27, and Marin and Michelle appear in CAROUSEL and RIGOLETTO, respectively, through August 1st. Get your tickets now at . Bravi tutti! -Emily Murdock, Host & Producer /episode/index/show/ccopodcast/id/19904912

Season 6, Episode 6 - Young Artist Spotlight - Bernardo Medeiros, Michelle Monroe, and Marin Tack 07/23/2021

SHOW NOTES: Season 6, Episode 5 - Dan Wallace Miller, Director of DIDO AND AENEAS 07/20/2021

SHOW NOTES: Season 6, Episode 5 - Dan Wallace Miller, Director of DIDO AND AENEAS Dan Wallace Miller Buckle your seatbelts and get settled in for a wild ride through an EPIC Show Notes post! Director Dan Wallace Miller dropped so many references to movies, opera productions, and other tangential goodies during his interview, many of which you'll be able to find below, not necessarily in the order mentioned in the episode. Here we go! Dan started off by sharing how he first saw Wagner's Ring Cycle at Seattle Opera when he was four years old. One of the leading opera companies in the United States, Seattle Opera has been producing the Ring Cycle since 1975, with the most recent production in 2013. to read more about the company's history with Wagnerian opera. The first production of Purcell's Dido and Aeneas that Dan directed was with his former company in 2011. He staged it in the Sylvan Grove Outdoor Theater on the University of Washington campus in Seattle. You can see all the production photos of this imaginative production . Gilpin Room in our Lanny and Sharon Martin Foundry Rehearsal Hall in Central City was where Dan thought he was going to stage his CCO production of Dido. Ken Cazan's Acis and Galatea, Central City Opera, 2018. Photo by Amanda Tipton Instead, the 2021 production of Dido and Aeneas is in the Opera Garden, just downhill from the Central City Opera House. Opera Garden, Central City. Photo by Amanda Tipton Dan pulls a lot of inspiration from film, having a degree in comparative literature (film studies) from the University of Washington, and the movie that inspires this summer's Dido and Aeneas is the 1976 Carrie, directed by Brian De Palma. Dan has also been inspired by Italian giallo horror movies (read this about the 10 best giallo movies for beginners), and currently is "obsessed" with Jacques Demy's 1963 film The Umbrellas of Cherbourg. You can watch this entire French movie , with English subtitles, and join in Dan's self-proclaimed obsession! I brought up Dan's recent production of The Combat with Seattle Opera and his interview on the Seattle Opera Blog. Read that interview , and click on the video below to see an excerpt from that production. He also very recently directed Seattle Opera's filmed version of Tosca, which streamed live this past June. I've included the trailer below, and you can with Dan about this reimagined version of one of the most beloved operas of all time. Some tidbits mentioned in this episode: 17th-century theater music (link to article on ) Political commentary in Mozart's The Magic Flute (link to San Francisco Opera's ) Nabucco, Verdi, and the Risorgimento ("reunification" of Italy - link to article on ) Kentucky's shockingly high rate of sexual assault, stalking, and intimate partner violence (read stats ) Gian Carlo Menotti's 1951 film version of his opera The Medium (see a clip , read more about it , and buy the DVD ) Francesco Rosi's 1984 movie of Bizet's Carmen, filmed on location in Seville, Spain (see the full movie ) Powell and Pressburger's 1951 movie version of Offenbach's The Tales of Hoffmann (see the HD trailer ) The BBC's 1995 movie version of Dido and Aeneas, starring Maria Ewing (see the full movie ) The Santa Fe Opera production of Mason Bates' The (R)Evolution of Steve Jobs, for which Dan was Assistant Director (see a highlights video ) Kendrick Lamar's performance at The Grammy Awards in 2016 - unfortunately, I couldn't find a video online, but here's a about it from online video news community The Grio which shows a few highlights Finally, here's an excerpt from Dan's production of the Britten adaptation of Poulenc's Les mamelles de Tirésias, which he directed for Vespertine Opera Theater in 2013, vaudeville-style. A huge thank-you to director Dan Wallace Miller for being on the Central City Opera Podcast this season! This was a fascinating interview. Dido and Aeneas will be performed on July 17, 20, 22, and 28, 2021 in the Opera Garden in Central City. Although the shows are sold out at the time of this post, call the CCO Box Office at 303-292-6700 or email to see if you can snag last minute tickets. -Emily Murdock, Host & Producer /episode/index/show/ccopodcast/id/19865654

Season 6, Episode 5 - Dan Wallace Miller, Director of DIDO AND AENEAS 07/20/2021

SHOW NOTES: Season 6, Episode 4 - Anna Christy and Steven LaBrie, Principals in CAROUSEL 07/16/2021

SHOW NOTES: Season 6, Episode 4 - Anna Christy and Steven LaBrie, Principals in CAROUSEL Anna Christy, soprano, and Steven LaBrie, baritone CAROUSEL principal singer-actors Anna Christy ("Julie Jordan") and Steven LaBrie ("Billy Bigelow") joined me over Zoom a week after their opening night. I had already seen the production a few days before - it is so deeply moving. (By the way, I mentioned in the episode that I was sitting in 90-degree heat while watching the performance. Since then, Central City Opera has moved almost all matinee productions of CAROUSEL and RIGOLETTO to evening performances to save audiences and performers from Colorado's hot summer temperatures. Visit to find the updated schedule.) I asked Anna how her roles upon the Central City Opera House stage had influenced her as an artist. Here are photos from the productions and roles she mentioned: As "Tytania" in Britten's A MIDSUMMER NIGHT'S DREAM, Central City Opera, 2002. Photo by Mark Kiryluk. As "Emily" in Rorem's OUR TOWN, Central City Opera, 2013. Photo by Mark Kiryluk. (On the right, tenor Will Ferguson as "George" - and he plays Enoch Snow in this year's CAROUSEL!) As "Susanna" in Mozart's THE MARRIAGE OF FIGARO, Central City Opera, 2014. Photo by Mark Kiryluk. As "Baby Doe Tabor" in Moore's THE BALLAD OF BABY DOE, Central City Opera, 2016. Photos by Amanda Tipton. Since this episode was recorded and released after production photos of CAROUSEL were taken, here's a great one featuring Anna and Steven in their roles "Julie" and "Billy." Photo by Amanda Tipton. Steven mentioned how the Panama Canal was not finished at the time this musical was set - and this got me curious. The Panama Canal was finished in 1914, and Richard Rodgers and Oscar Hammerstein II wrote this musical in 1946. HOWEVER - it is indeed set in 1873, which means that yes, construction on the Panama Canal had not even started. As CAROUSEL is set in 1873 coastal Maine, of course I went looking for photos or paintings of that time and place. The closest I found was a beautiful painting by American watercolor painter Winslow Homer entitled "A Basket of Clams." Homer painted this in 1873, not in Maine, but in Gloucester, Massachusetts, just down the coast. You can read more about Homer and this painting . Winslow Homer's "A Basket of Clams." 1873 It's important to note that the topics discussed in this episode and in the musical CAROUSEL can be triggering. If you are a victim of domestic violence, find help by calling the National Domestic Violence Hotline at (800) 799-SAFE (7233). My deepest thanks to Anna Christy and Steven LaBrie for joining me on the Central City Opera Podcast. To follow the careers of these exciting and incredibly talented singer-actors, visit their websites: and . You can also follow Steven on Instagram . -Emily Murdock, Host & Producer /episode/index/show/ccopodcast/id/19829237

Season 6, Episode 4 - Anna Christy and Steven LaBrie, Principals in CAROUSEL 07/16/2021

SHOW NOTES: Season 6, Episode 3 - Alisa Jordheim and Galeano Salas, Principals in RIGOLETTO 07/13/2021

SHOW NOTES: Season 6, Episode 3 - Alisa Jordheim and Galeano Salas, Principals in RIGOLETTO Soprano Alisa Jordheim ("Gilda") and tenor Galeano Salas ("The Duke of Mantua") were able to squeeze in a podcast interview at the beginning of their tech week, a few days before opening night of RIGOLETTO at Hudson Gardens and Event Center in Littleton, Colorado. They set up on Alisa's porch in Central City so that the conversation wouldn't disturb Galeano's young son who was napping. It was a ton of fun with only a little bit of wind and cars driving by on Eureka Street. Early in the interview, we took a walk down memory lane, reminiscing about the performances Alisa and Galeano were in as Apprentice Artists with Central City Opera. Here are some photos from some of those productions (all photos by Mark Kiryluk): OUR TOWN, 2013. Galeano is part of the chorus and is seated in the second position of the second row. THE TURN OF THE SCREW, 2012. Alisa as "Flora." OKLAHOMA!, 2012. Galeano, part of the chorus, is on the far left holding his hand out - his face is partially blocked by a castmate. THE TURN OF THE SCREW, 2012. Alisa as "Flora" on the right. Galeano and I also talked about the unique concept for the character of "Parpignol" in Kevin Newbury's production of LA BOHEME in 2012. Here's a photo of tenor Nicholas Nesbitt in that role - Galeano was his cover (understudy). "Parpignol" is the clown dressed in white in the center of the photo. Alisa and Galeano also pointed out that one of their RIGOLETTO castmates, John Paul Huckle, the bass who plays "Sparafucile," was also a former young artist with Central City Opera. I investigated and found out that John was here in 2006 as a CCO Studio Artist. But alas - I could not find any production photos with him. In case you're curious, the 2006 Central City Opera Festival featured the productions The Ballad of Baby Doe, Don Giovanni, L’Incoronazione di Poppea, and The Face on the Barroom Floor. When asking Alisa and Galeano if they had any significant experience with singing outdoors, Alisa brought up On Site Opera's co-production of Mozart's LA FINTA GIARDINIERA with The Atlanta Opera in 2017. I found a promo video for that production! Look for Alisa at 0:37 seconds wearing clear-rimmed glasses and at 1:25 riding piggyback on a castmate. I mentioned that RIGOLETTO's conductor, CCO Music Director John Baril, was featured on one of our springtime Lunch & Learn virtual lectures, talking about what to listen for in RIGOLETTO. Here's a on our Facebook page. I also shamelessly plugged Episode 2 of Season 6 of the podcast, which features RIGOLETTO's stage director Jose Maria Condemi as well as John Baril. If you haven't already, you can listen to that episode . Thank you again to Alisa and Galeano for taking the time to be on the Central City Opera Podcast. This was such a fun interview! -Emily Murdock, Host & Producer /episode/index/show/ccopodcast/id/19791920

Season 6, Episode 3 - Alisa Jordheim and Galeano Salas, Principals in RIGOLETTO 07/13/2021

SHOW NOTES: Season 6, Episode 2 - Jose Maria Condemi (Director) and John Baril (Conductor) on RIGOLETTO 07/09/2021

SHOW NOTES: Season 6, Episode 2 - Jose Maria Condemi (Director) and John Baril (Conductor) on RIGOLETTO Jose Maria Condemi (left) and John Baril (right) June in Central City is an incredibly busy time, the schedule jam-packed with rehearsals and this summer, commuting to and from our outdoor mainstage location at Hudson Gardens and Event Center in Littleton, Colorado. So I was thrilled to find a time sandwiched between rehearsals on June 24 to interview Rigoletto's director Jose Maria Condemi and conductor/CCO Music Director John Baril. They joined me on Zoom from their respective housing in Central City. Jose Maria mentioned the New Orleans Opera production of Rigoletto designed by Steven Kemp, which was the intended design had we been able to produce this opera in 2020. Here is a photo of that design, and you can find more photos . Rigoletto Set Design by Steven Kemp for New Orleans Opera A big reason why our 2021 production was reimagined and updated to modern times is because of the hot temperatures. Here's a graph of average temperatures in Littleton, Colorado, where Hudson Gardens and Event Center is located. Note that the hottest day of the year usually falls on July 10 - which is Opening Night for Rigoletto! John mentioned Le Roi S'Amuse, the Victor Hugo play upon which Rigoletto is based. You can buy the English translation . Near the end of the episode, Jose Maria commented on how opera singing (and singing in general) is considered a dangerous and high-risk activity in the context of Covid-19. from the National Association of Teachers of Singing (NATS) that digs deeper into the science of singing in Covid times. John has been a guest on the Central City Opera Podcast many times, and Jose Maria was a guest back in 2017 when he directed Carmen for the company. Here are the links to those episodes: John Baril: John Baril: John Baril: Jose Maria Condemi: John Baril: Photos: CCO production of Carmen, 2017 (left) and John Baril conducting a rehearsal of Billy Budd in the Central City Opera House orchestra pit, 2019. Photos by Amanda Tipton Photography. Finally, we didn't mention it in this episode, but John Baril was a presenter on CCO's virtual Lunch & Learn series this past spring. He talked about what to listen for in Rigoletto, and you can watch it on our Facebook page . It was great fun to interview Jose Maria Condemi and John Baril! Visit to buy tickets to the 2021 production of Rigoletto at Hudson Gardens and Event Center in Littleton, Colorado. -Emily Murdock, Host & Producer /episode/index/show/ccopodcast/id/19726100

Season 6, Episode 2 - Jose Maria Condemi (Director) and John Baril (Conductor) on RIGOLETTO 07/09/2021

SHOW NOTES: Season 6, Episode 1 - Ken Cazan, Stage Director of CAROUSEL 07/06/2021

SHOW NOTES: Season 6, Episode 1 - Ken Cazan, Stage Director of CAROUSEL Stage Director Ken Cazan is back this summer at Central City Opera, directing Rodgers & Hammerstein’s musical Carousel. Ken has been a guest on the Central City Opera almost every summer since its inception in 2016, and he always delivers an incredible interview. This year was no different. The interview was conducted over Zoom due to Covid restrictions, so I missed giving Ken a welcome-back hug, but we still had a great time! Read on for the show notes. Correction Alert – When I asked Ken about his history of directing musicals here at Central City Opera, I said that he directed The Sound of Music in 2015. That was incorrect – he actually directed it in 2014, the same summer that he directed Dead Man Walking. Talk about a busy summer! Photos: The Sound of Music, right, and Dead Man Walking, left. Photos by Mark Kiryluk. When talking about Rodgers and Hammerstein’s collaboration and impact on the American musical genre, Ken mentioned Tin Pan Alley. He teaches a course at the University of Southern California’s Thornton School of Music, where he is the resident stage director of opera, called Musical Theatre Song Interpretation: Tin Pan Alley Era. This era spanned from the mid-late 19th century to the mid 20th century, and the music and lyrics written during this era created contemporary Broadway. Find out more about Tin Pan Alley I brought up Ken’s vast range of work with Central City Opera during this interview. Here are some photos from a few productions that Ken directed in the past (not an exhaustive list): Photos: 1. Billy Budd, 2019; 2. Acis and Galatea, 2018; 3. The Burning Fiery Furnace, 2017; 4. The Ballad of Baby Doe, 2016; 5. Our Town, 2013; 6. Oklahoma!, 2012 Photo credits: 1-4, Amanda Tipton Photography; 5 -6, Mark Kiryluk. When talking about depicting traumatic moments onstage, Ken brought up how it is important for performing arts organizations to connect to their communities. A local organization that assists victims of domestic violence is , formerly known as the Colorado Coalition Against Domestic Violence (CCADV). If you are a victim of domestic violence, find help by calling the National Domestic Violence Hotline at (800) 799-SAFE (7233). Ken mentioned famed choreographer Agnes De Mille, who choreographed many shows with Rodgers & Hammerstein, including Carousel. Read more about her on the American Ballet Theatre’s . Ken has been featured several times on the Central City Opera Podcast before. You can listen to his previous episodes at these links: ; ; and . It was so much fun to talk with Ken again! Visit to buy tickets to the 2021 production of Carousel at Hudson Gardens and Event Center in Littleton, Colorado. -Emily Murdock, Host & Producer /episode/index/show/ccopodcast/id/19711754

Season 6, Episode 1 - Ken Cazan, Stage Director of CAROUSEL 07/06/2021

SHOW NOTES: Season 5, Episode 9 - Ana Luna Uribe, Lisa Young and Teila Theisen 04/30/2021

SHOW NOTES: Season 5, Episode 9 - Ana Luna Uribe, Lisa Young and Teila Theisen Opera Central and the Central City Opera Podcast proudly host the heads of two leading equity, diversity, inclusion and accessibility (EDIA) organizations in Colorado: Founder Lisa Young and Director Ana Luna Uribe. They talk with CCO Audience Development Manager Teila Theisen about their goals for our local arts community, “working out” or “exercising” inclusivity, the importance of stepping outside your bubble and much more. ABOUT OUR GUESTS: Ana Luna Uribe-Leteinturier Ana Luna is a French-Colombian violinist, born and raised in the United States. She is currently based in Denver and is an avid performer, teacher and arts administrator. As a multi-faceted performer, Ana Luna is currently experimenting with arranging, electronic music and loop pedaling. Interested in serving her community through the arts, Ana Luna is currently the Director of the and the Site Coordinator at El Sistema Colorado. Ms. Uribe has also been an active part of the Next Festival of Emerging Artists in New York City since March of 2020. One of her main focuses is new music and collaboration and she has worked to bring new works to life with composers such as Lisa Bielawa, Ryan Lindveit, Samantha Wolf, Andrew Dewey and Sergio Herrera, among others. As an orchestral player, she has appeared with the Boulder Philharmonic Orchestra, the Northwest Florida Symphony Orchestra, the Sinfonia Gulf Coast Orchestra, the Tallahassee Symphony Orchestra and the Boulder Symphony. Recent festivals attended include the Domaine Forget Academy in Quebec, the Eastern Music Festival in Greensboro, NC and a Violin Fellowship at the Texas Music Festival in Houston, TX. She has performed under the batons of great conductors such as Brett Mitchell, Yoav Talmi, Andres Franco, Gerard Schwartz and Ari Pelto. As a chamber musician, she has played with groups at the Domaine Forget Academy, the Texas Music Festival, the Eastern Music Festival, the Florida State University and the Lamont School of Music. She has studied under artists such as Neal Carey, Basil Vendryes, Shannon Thomas, Elizabeth Phelps and Qing Li. Most notably, in 2014, she was chosen as the second violinist for the Miami Music Project String Quintet. The group travelled to Paris, France to bring the works of Cuban, Haitian and Brazilian composers to the International St. Denis Festival. Her string quartet was also given an honorable mention for their performance of the Barber String Quartet at the 2020 Lamont Chamber Music Honors competition. Ms. Uribe holds a Bachelor’s degree in Violin Performance from the Florida State University’s College of Music where she studied with Corinne Stillwell as well as a Master's degree in Violin Performance from the University of Denver's Lamont School of Music where she served as teaching assistant to Linda Wang and Igor PIkayzen. Lisa Young Lisa Young is an actor-vist, director, singer, teaching artist and founder of , a grassroots movement for theatre that uses the philosophy we are all accountable for inclusion, diversity, equity and access in the arts. She has served on the Colorado Theatre Guild Board since 2013 and 30+ years in community and professional theatre. In addition, Lisa is a drama-teaching artist at Boston P-8 in Aurora Colorado. IDEA Stages’ Story & Purpose: IDEAs was founded by actor-vist Lisa Young, (a Black Woman who is a stroke survivor), in May 2020 after the deaths of Ahmaud Arbery, Breonna Taylor, George Floyd and countless other Black people. In 2020, as we considered the impact of COVID-19, and the mobilization and out-cry for justice from people supporting the Black Lives Matter movement, we also asked ourselves "What are we prepared to do to dismantle racism, anti-Blackness and inequalities in theatre?" IDEAs is a grassroots outreach organization providing activism, resources, and accountability for the work of Diversity, Equity, Inclusion, and Access (DEIA) in theaters to our members. We serve our membership of individuals, companies, and communities by granting IDEAs designations to organizations which fulfill guiding principles - called Pillars of Inclusion - within their policy and infrastructure. We are Change Agents, who are making demonstrable advancements, real and effective. Teila Theisen Teila Theisen joined the Central City Opera as Audience Development Manager, the newest member of the Marketing and Communications team, in 2020. Teila has an extensive background in performing arts and began studying dance, opera and choral music at age seven. She has a bachelors in fine arts, cum laude, from Northern Illinois University and has been working in the nonprofit sector for nearly ten years. Teila is a three-time AmeriCorps Alum, a Returned Peace Corps Volunteer from The Gambia, West Africa and has worked with several national nonprofits, including Girl Scouts and The Boys & Girls Clubs. Teila has a passion for diversity, equity and inclusion work, community development, travel and music. She is very much looking forward to working with the entire Central City Opera team to create unique and memorable experiences throughout Colorado! SHOW NOTES: EDI or EDIA and IDEA are acronyms for inclusivity, diversity, equity and accessibility. Diversity is presence of difference within a given setting. In this case the workplace is the setting, and the differences typically refer to identity like race and gender and sometimes ethnicity, religion, nationality or sexual orientation. A person isn’t diverse. They’re unique. They can bring diversity to a group though. You’re not looking for a diverse candidate. Diversity is about a collective or a group." Inclusion has to do with people with different identities feeling and/or being valued, leveraged and welcomed within a given setting (whether that’s a team, workplace or industry). Longtime diversity, equity and inclusion educator, Verna Myers, said: 'Diversity is being asked to the party. Inclusion is being asked to dance.' Inclusion isn’t a natural consequence of diversity. You can have a diverse team of talent, but that doesn’t mean they feel welcomed or valued or are given opportunities to grow. Equity is an approach that ensures everyone has access to the same opportunities. Equity recognizes that we don’t all start from the same place because advantages and barriers exist. It’s a process that acknowledges uneven starting places and seeks to correct the imbalance. Diversity and inclusion are both outcomes. Equity is not. It refers to the process an organization engages in to ensure that people with marginalized identities have the opportunity to grow, contribute, and develop. Access/Accessibility is giving equitable access to everyone along the continuum of human ability and experience. Accessibility encompasses the broader meanings of compliance and refers to how organizations make space for the characteristics that each person brings. The definition of accessibility is broadening beyond public accommodations and job opportunities. It’s not just about the physical environment: it’s about access to and representation in content for all. Read more: and This interview was recorded on the heels of anti-Asian shootings in Atlanta, April 2021: Further reading: NOTES ON INTERVIEW INTRODUCTIONS: Central City Opera’s staff shared a public statement and commitment fall 2020: Lisa and Ana introduced themselves using physical descriptions to help audience members with limited sight access this conversation. They also stated their preferred pronouns, which helps create a safe space for gender inclusion. Finally, the speakers shared acknowledgements of indigenous land on which they live and work. Learn more about pronouns: Learn more about land acknowledgements: WORDS OF WISDOM FROM THIS CONVERSATION: Ana: “White bodies live with trauma of white supremacy too” Lisa: “(IDEA) doesn’t just take three months” Lisa: Comparing working on IDEA to physical exercise: “If you’re not uncomfortable, you’re not working out!” “Anti-racism hurts (in a good way)” Lisa talks about influential and decorated author Dr. Ibram X Kendi. Learn more about him at OPERA America offers a great list of Industry Resources covering IDEA work in opera, grants, story-telling, innovations and databases of opera repertoire modern and historical: Lisa talks about Phamaly Theater Company, “A creative home for theatre artists with disabilities.” Learn more at /episode/index/show/ccopodcast/id/18920510

Season 5, Episode 9 - Ana Luna Uribe, Lisa Young and Teila Theisen 04/30/2021

SHOW NOTES - Season 5, Episode 8 - Stephen Brackett and Gail Bransteitter 03/03/2021

SHOW NOTES - Season 5, Episode 8 - Stephen Brackett and Gail Bransteitter Left to right: Stephen Brackett and Gail Bransteitter and emcee/lead singer Stephen Brackett talks about music as a tool for liberation, working with young people through his nonprofit and the state of music in Colorado with CCO Director of Marketing and Communications (and longtime friend) Gail Bransteitter. From the halls of George Washington High School to leadership of the Colorado arts world, Stephen and Gail have both been dedicated advocates and artists making a difference in our community for decades. Learn more about the and the word of both Stephen and previous Colorado Music Ambassador Shawn King of DeVotchKa. Stephen co-founded the rap/rock experimental band, the , nationally known for songs like and and their focus on social and political consciousness. Check out their music and mission at . Watch for new songs dropping every three weeks in 2021! The Flobots created the Denver nonprofit offering for-credit music classes in music production, poetry and ethnic studies during the school day in high schools and middle schools. Stephen sat on the board for about ten years, acted as board chair for two and stepped off the board to become Director of Special Programs last year. During the interview he mentions the Denver Children’s Home, learn more at . Youth On Record offers free and open to the public, virtual programming five days out of the week. Explore their offerings and sign up at . About Youth On Record, Stephen says: “What started as an attempt of a band to do more than just soapbox but to actually live our lyrics and create pathways to challenging the power and agency that our songs were about, it actually grew into something that far exceeded our expectations. It has been the best contribution that could have come out of my musical career...That is the thing I’m most proud of.” “We’re using (music classes) as a delivery method for liberation. We’re not teaching music classes for music’s sake, we are teaching music classes so that during the school day, these students have the opportunity to speak their world, their perspective, their view, and to do so with the excellence that the arts kind of require of you.” “When you’re battling perfection, that means that you never win, but the grit that you earn in trying to meet the impossible gives you a kind of resilience that you can then leverage against the rest of your academic day. That’s what I believe when I’m talking about how music can be a great medium for liberation and a great leverage point for somebody becoming a life-long learner.” Stephen has been all over the news in Colorado for more than a year! Check out some of the headlines below: B-boy: Someone involved with hip-hop culture, especially a breakdancer Shout out to George Washington High School in Denver, where Gail and Stephen got to know one another and established a love of the arts. Stephen on his influences: “My influences right now are any of the students who are bold enough to get on stage during the talent show. When I see young creatives doing things when they haven’t learned the rules yet, and the kinda stuff they come out with when they are unafraid, is always a humbling lesson for me.” A list of local artists we should know about from Stephen: , formally , now performs as Lucy (music and visual arts) , singer/songwriter , singer/songwriter/producer of various mediums , self-described as “a wee group of theater-making humans based in Denver. We’ve worked together for over 18 years, making new stuff.* We work collaboratively—without ‘official’ writers, directors, designers, janitors. We do all the stuff. Because we love it.” Rodney Mullen, Colorado Country Hall of Fame The Downy Sisters, “dynamite songwriters” is an award-winning artist, activist and educator who lives in Denver, Colorado. Her background is in opera! Stephen also draws inspiration from Disney songwriters and . Learn more about , an opera commissioned by and premiered at Central City Opera in the 1950s, based on the famous figure of Colorado history . Watch the video version of this interview and more at . /episode/index/show/ccopodcast/id/18169835

Season 5, Episode 8 - Stephen Brackett and Gail Bransteitter 03/03/2021

Show Notes: Season 5, Episode 7 - Phebe Berkowitz-Tanners and Katie Nicholson 12/03/2020

Show Notes: Season 5, Episode 7 - Phebe Berkowitz-Tanners and Katie Nicholson Katie Nicholson and Phebe Berkowitz-Tanners Phebe Berkowitz-Tanners grew up in the Central City Opera House. Her family made a second home in our magical, old western town during the summers of 1953-1963 when her father, Metropolitan Opera violist David Berkowitz, played the Festival season with the Central City Opera Orchestra. Now a dedicated supporter of the company, Phebe reminisces with CCO Director of Development Katie Nicholson about mounting backyard opera productions with other children of the Festival company (attended by famous singers and actors of the main stage!), experiencing the world premiere of from behind the scenes and the expansive and international Central City Opera community that she found throughout her career as an opera stage director and production professional. Guest host Katherine (Katie) Nicholson was recently featured on , take a read get to know her better! Those of you watching the video version of this interview will notice the poster for Central City Opera’s Voice Your Dreams Endowment Campaign behind Katie. If you want to learn more and/or contribute to the Campaign to help our company endure long into the future, contact Katie at or 303-331-7015! Special thanks to Central City Opera Office Administrator Wanda M. Larson who’s helped us keep in close contact with our guest, Phebe, throughout the years and continues to show her passion for unforgettable Central City Opera experiences and community. You’ll probably recognize her if you’ve been up to the summer Festival, she’s the Gift Shop Admin/Buyer, too!Wanda Larson Historical preservation is a pillar of Central City Opera’s mission. Learn about the dozens of . Explore more Central City history, and even schedule a tour at . “The famous ghost town” of Nevadaville is just up the street from Central City. Learn more about it at . Like many patrons and visitors, Phebe mentions paranormal experiences in and around our properties. Have you encountered something ghostly in Central City? Phebe talks about many exciting moments and incredible figures from Central City Opera, including: Phebe spent her first summer at Central City Opera in 1953, the production was Bizet’s Carmen. She was 7 and her sister was 9. They fell in love with the music, sitting in on every rehearsal, and they began the tradition of performing their own versions of the season’s operas in their backyard with the other children of the Festival company. They’d string up a sheet to make a stage curtain, and star actors and singers would even come to see their shows! According to Phebe, these “parodies” and performances went on to inspire the tradition of our famous singing ushers. Ushers at Central City Opera, 1960. Photo provided by Phebe Berkowitz-Tanners You’ll hear the famous Risë Stevens recording of Carmen that Phebe and her sister loved so much as background music during this podcast. Wonderful performers Phebe recalls knowing as a child—some of whom attended her backyard productions—were , , , . One of Phebe’s favorite memories of Central City Opera was the world premiere of The Ballad of Baby Doe in 1956. She was 10 years old at the time, and she remembers all the excitement and artistry of composer , librettist , director and renowned choreographer , director Edwin Levy and starring sopranos and Leyna Gabriele, all working together on this brand new opera. Read more about and on the Central City Opera blog! From left to right: Edwin Levy, Hanya Holm, Douglas Moore, and John Latouche, original creative team for THE BALLAD OF BABY DOE. Photo provided by Phebe Berkowitz-Tanners. —perhaps best remembered as in the Mary Martin musical production of —played Don Andres in La Perichole at Central City Opera in 1958. Phebe talks about how he kindly reassured her little brother, who had made a loud mistake on stage while playing a non-singing role in the production. Over her summers at Central City Opera, Phebe memorized 17 operas along with the other children. “It was incredible musical education,” she says, “it was all about the music.” Phebe points out, “in those days all the operas [in Central City] were performed in English.” Throughout history it’s been common practice for operas to be adapted to the vernacular of the place they’re being performed. In recent years—especially in the United States—operas are more commonly performed in their original language. Wonder where the performance trends in this 400-year-old artform will take us next! Since various opera companies and orchestras perform during different times of the year, many musicians play in multiple ensembles like Phebe’s dad. For instance many orchestra members at Central City Opera also played with the Metropolitan Opera, and today our orchestra shares many musicians with the . The Berkowitz family stayed in a historic house that, during those years, was named after (1911-1970). Famous for her burlesque act, Lee was also an actor, author, playwright and all-around fascinating figure that inspired and captured the kids’ imagination. Phebe (right) and her brother Robert at the Gypsy Rose Lee House, 1953. Photo provided by Phebe Berkowitz-Tanners As an adult, Phebe went on to build a career as an opera director and production professional, herself. Learn more about some of the figures and references she makes in this interview: She snagged a job as an intern in makeup and costumes with as a young woman. As she was such a keen observer during rehearsals, —the composer of the world-premiere production of they were producing—asked her to call the light cues. Even with her very limited German vocabulary, she was up to the task! After that, Hamburg State Opera Artistic Director hired her on as lighting stage manager. Later, he took Phebe with him as a stage director when he joined as Artistic Director. Phebe enjoyed many years as a part of the Company, as an assistant stage director, director for revivals and Executive Stage Director (1974-2016). Her time with the Met Opera began when brought her along as his personal assistant for (1971), which was ’s last new production. Central City Opera Artistic Director Emeritus John Moriarty is also a close friend and mentor to Phebe. While they didn’t cross paths at CCO, he taught her to stage manage at Lake George Opera—now —where they worked together for three years. Read Phebe’s general bio at Join Phebe in supporting the community and artistry of Central City Opera for many years to come. Find all kinds of ways to donate at Thanks for listening! Musical excerpts featured in this podcast: Carmen by Georges Bizet. Mezzo-soprano (1913-2013) sings the Act 1 “Habanera.” Recording with the Metropolitan Opera Orchestra in approximately 1948 and conducted by Erich Leinsdorf. The Ballad of Baby Doe by Douglas Moore, Act 1, Scene 2 “Willow Song.” Recorded in 1959 at the New York City Opera Company with soprano (1929 – 2007) as Baby Doe and (1910-2000) as Horace Tabor. Conducted by (1916-1989). (Cassel and Buckley were part of the original 1956 production at Central City Opera in these same roles.) The Girl of the Golden West by Giacomo Puccini, Act 1 with soprano as Minnie and tenor as Dick Johnson. Recorded at the Metropolitan Opera and featured on PBS’s Great Performances. /episode/index/show/ccopodcast/id/17041088

Season 5, Episode 7 - Phebe Berkowitz-Tanners and Katie Nicholson 12/03/2020

Show Notes - Season 5, Episode 6: Ana Maria Inspires: EN MIS PALABRAS 10/28/2020

Show Notes - Season 5, Episode 6: Ana Maria Inspires: EN MIS PALABRAS Top row: Mica Dominguez-Robinson, Margaret Siegrist. Bottom row: Armando Contreras, Daniela Guzmán-Égüez. En Mis Palabras artists share their thoughts and experiences on racially accurate casting, representation in the performing arts and the importance of telling diverse stories on the operatic stage in today’s episode. Guests include , who originated the leading role of Ana Maria, and brand new cast members (Ana Maria) and (Esteban). Hosted by CCO Marketing Content Manager and Opera Central Producer Margaret Siegrist. Central City Opera commissioned our bilingual, one-act opera En Mis Palabras/In My Own Words more than 15 years ago, with the goal of acknowledging the 1/5 Latino population here in Colorado. The opera tackles themes of immigration, family and coming of age and is performed regularly as a part of year-round education and community engagement programming. Over 19,000 people have seen it since its 2006 premiere. Central City Opera committed to casting the lead role of Ana Maria only with LatinX artists since the opera was commissioned, and that practice has been honored to this day. Mica Dominguez-Robinson as "Ana Maria" in the early days of En Mis Palabras/In My Own Words This third and final conversation focused on En Mis Palabras and diversity, equity and inclusion in the arts amplifies the voices of the artists of color who perform in the program! Settle in for coffee and conversation with us. Text PALABRAS to 20123, and find great deals on over 400 coffees roasted to order and shipped to you by the bag from the nation’s best roasters. A portion of all purchases goes to Central City Opera thanks to our partners at . A note on En Mis Palabras personnel and casting: “Touring artists,” a term you heard during the interview, refers to the singers, instrumentalists and production staff who perform as part of our year-round education programs. Most shows, including En Mis Palabras, are cast with multiple artists in each role so that Central City Opera is able to best serve our communities from a scheduling perspective. The artists you’ll meet in these episodes are just a few of the many current and past cast members of the show! A scene featuring conflict between father and son, performed at History Colorado in 2015 by (left to right) Leslie Remmert Soich, Steve Taylor, James Baumgardner, and Jovahnna Anderson Borboa. Photo by Amanda Tipton. Audience engrossed in a performance of En Mis Palabras at History Colorado in 2015. Photo by Amanda Tipton. What are Mica, Dani and Armando up to in the near future? Both Armando and Dani perform in Boulder Opera Company’s November 2020 production of La bohème, set in the era of COVID-19. Learn more and buy tickets at Armando teaches voice lessons and is currently accepting new students. Apply at Mica looks forward to performing the following roles in postponed productions: Dorothy in The Wizard of Oz, the “Day by Day” singer in Godspell, ensemble in Sweeney Todd and Bright Star and returning as a featured singer in the . Mica talks about a couple momentous moments for inclusive casting in musical theater: Many performers of color and organizations championing diversity, equity and inclusion were mentioned in the episode. Check out the links below for more information: , opera singer , opera singer , opera singer , opera singer Our host mentioned a story about the famously voluptuous opera singer (1871–1940) playing a character who was meant to be wasting away with consumption (tuberculosis) as a testament to the lack of importance placed on type-casting during different eras of opera history. Armando talked about preference against bilingual communication in United States’ schools during the ‘70s and ‘80s that influenced the experiences of his family members. Read more about the in education. Dani talks about “,” a Spanish lyric-dramatic genre that alternates between spoken and sung scenes, the latter incorporating operatic and popular songs, as well as dance.” Shout out to the educators and educational institutions referenced in this episode: Denver School of the Arts University of Denver’s Lamont School of Music , Armando’s voice teacher This episode features musical excerpts from our 2008 archival recording of En Mis Palabras. Composer, . Librettist, Jeffrey Gilden. Ana Maria, Jennifer DeDominici. Rodolfo, Adam Sattley. Esteban, Steven Taylor. Abuela, Leslie Remmert Soich. Piano, Deborah Schmit-Lobis. Guitar, Rick Chinisci. /episode/index/show/ccopodcast/id/16577195

Season 5, Episode 6 - Ana Maria Inspires: EN MIS PALABRAS 10/28/2020

Show Notes - Season 5, Episode 5 - Community & Collaboration: EN MIS PALABRAS 10/24/2020

Show Notes - Season 5, Episode 5 - Community & Collaboration: EN MIS PALABRAS Top row: Anthony ("Tony") Garcia and Margaret Siegrist Bottom row: Deb Morrow The conversation on our original, bilingual opera En Mis Palabras/In My Own Words and diversity, equity and inclusion in the arts continues. Today we discuss and Central City Opera’s collaboration on the En Mis Palabras workshop and premiere, Denver’s rich Chicano history and art as cultural affirmation. Featuring some of the original artistic minds behind the opera, director Tony Garcia and former CCO Director of Education and Community Engagement Deb Morrow, the interview is hosted by CCO Marketing Content Manager and Opera Central producer Margaret Siegrist. Central City Opera commissioned En Mis Palabras/In My Own Words more than 15 years ago, with the goal of acknowledging the 1/5 Latino population here in Colorado. The opera tackles themes of immigration, family and coming of age and is performed regularly as a part of Central City Opera’s year-round education and community engagement programming. Over 19,000 people have seen it since its 2006 premiere. Watch the video version of this podcast episode on the Central City Opera website, . Settle in for coffee and conversation with us! Text PALABRAS to 20123, and find great deals on over 400 coffees roasted to order and shipped to you by the bag from the nation’s best roasters. A portion of all purchases goes to Central City Opera thanks to our partners at . Cheers! Left to right: artist Michael Gorgan's renderings of the backdrops for En Mis Palabras/In My Own Words. Stage right, Center stage, and Stage left The set of En Mis Palabras/In My Own Words complete with furniture and props. Design by Michael Gorgan The Denver Civic Theatre, home of Su Teatro Cultural & Performing Arts Center, located at 721 Santa Fe Drive, Denver, Colorado. Central City Opera collaborated with Tony Garcia and Su Teatro, where he’s Executive Artistic Director, for the workshop and premiere of En Mis Palabras in 2006. Learn more about Denver’s Su Teatro Cultural & Performing Arts Center at and . Born from the Chicano Civil Rights Movement of the 1960s and 70s, Su Teatro (Your Theater) began in 1972 as a student-organized group at the University of Colorado at Denver. In 2020, the company celebrates —an iconic fixture of the —making Su Teatro the company to make its home in the theater for the longest period of time of any other group, as well as the first to own it. Learn more about Su Teatro’s and on the company’s website. Director Tony Garcia (right) working with original cast members Thomas Erik Angerhofer (seated) and James Baumgardner (standing, left) during the first rehearsals of En Mis Palabras/In My Own Words. Left to right: Composer Roger Ames with guitarist Rick Chinisci and pianist Deborah Schmit-Lobis during the first rehearsals of En Mis Palabras/In My Own Words at Su Teatro. Referenced a few times throughout the interview, about his Community Service in the Arts Award. “ saluted Su Teatro Executive Artistic Director Tony Garcia for four decades of promoting Latino culture in Denver through the performing arts by presenting him with its Community Service in the Arts Award on May 14, 2019.” Deb Morrow has been General Manager at the since 2019. Learn more about the community chorus and its 43-year history . Composer and librettist Jeffery Gilden were also important members of En Mis Palabras/In My Own Words’ original creative team. Hear more from Roger about the making of En Mis Palabras and recent, collaborative language/dialect improvements to the libretto in of the Central City Opera Podcast. Left to right: librettist Jeffrey Gilden, director Tony Garcia, and composer Roger Ames , an opera and musical theater “create and produce” program that Deb mentions throughout the episode, is still an integral part of Central City Opera’s programs. Learn more (and book!) on our . Music! Words! Opera! is available in the form of CCO teaching artist-guided residencies as well as workshops for educators. Composer and teacher Roger Ames works with teachers during the Central City Opera Music! Words! Opera! Educator Workshop More projects by Tony Garcia referenced in the interview include: Interview with a Mexican is based on ’s “Ask a Mexican” columns that ran in Westword for a decade. Arellano is now a . Tony directed for the Arvada Center (circa 2000). The Japanese notion of is referenced several times throughout the interview, including a play based on the concept directed by Tony Garcia. Read more about history and social context presented in this episode: The or “El Movimiento:” . in education “ is a Spanish lyric-dramatic genre that alternates between spoken and sung scenes, the latter incorporating operatic and popular songs, as well as dance.” American playwright, screenwriter, film director and actor is regarded as the father of theater in the United States. Valdez is well known for creating and supporting and the . is a style of narrative or storytelling involving song and meter, often dealing with themes of oppression and social turmoil. The style was popular during the Mexican Revolutions of the 20th century and is still common today in various cultures. This episode features musical excerpts from our 2008 archival recording of En Mis Palabras: Composer, Roger Ames. Librettist, Jeffrey Gilden. Ana Maria, Jennifer DeDominici. Rodolfo, Adam Sattley. Esteban, Steven Taylor. Abuela, Leslie Remmert Soich. Piano, Deborah Schmit-Lobis. Guitar, Rick Chinisci. /episode/index/show/ccopodcast/id/16524416

Season 5, Episode 5 - Community & Collaboration: EN MIS PALABRAS 10/24/2020

SHOW NOTES - Season 5, Episode 4 - Growth & Evolution: EN MIS PALABRAS 10/21/2020

SHOW NOTES - Season 5, Episode 4 - Growth & Evolution: EN MIS PALABRAS This interview is part of a three-episode series featuring our original bilingual opera En Mis Palabras/In My Own Words and exploring equity, diversity and inclusion in the arts. Central City Opera (CCO) commissioned En Mis Palabras more than 15 years ago, with the goal of acknowledging the 1/5 Latino population here in Colorado. The opera tackles themes of immigration, family and coming of age and is performed regularly as a part of Central City Opera’s year-round education and community engagement programming. Over 19,000 people have seen it since its 2006 premiere. Today, we discuss the ongoing growth and evolution of the opera’s bilingual text, the idea of enriching story-telling through inclusion of many creative voices and, finally, what En Mis Palabras means to artists and audiences who’ve experienced it. Guests include En Mis Palabras composer , pianist and coach for the production and CCO Director of Education Emily Murdock with host and CCO Marketing Content Manager Margaret Siegrist. Watch the video version over on . Upper row, left to right: Emily Murdock, Margaret Siegrist. Lower row, left to right: Steven Aguilo-Arbues, Roger Ames. Settle in for coffee and conversation with us! Text PALABRAS to 20123, and find great deals on over 400 coffees roasted to order and shipped to you by the bag from the nation’s best roasters. A portion of all purchases goes to Central City Opera thanks to our partners at . Cheers! Roger Ames co-wrote Create Your Own Opera or Music-Theater for Opera America’s textbook series, in the late 1980s with Clifford Brooks. It’s been an important part of Central City Opera’s education and community engagement programs for many years with Roger at the helm. Central City Opera offers Music! Words! Opera! Residencies for students and an annual workshop teaching educators how to bring the program their own classrooms. Learn more on our . Listen to compositions by Roger Ames referenced during this episode: 2008 Pulitzer-nominated composition, . , dealing with the first instance in which slavery became an incident in the United States Supreme Court. Libretto by Virginia Artist and Roger Ames. Commissioned by the Board of Homeland Ministries and awarded a National Endowment for the Arts grant. Abraham’s Land, a new musical by Roger Ames with book and lyrics by Lauren Goldman Marshall, was scheduled to premiere in 2020 and has been postponed to summer 2021 due to the pandemic. “Set against the backdrop of the Israeli/Palestinian conflict during the time of the First Intifada, and framed by the ten days between Rosh Hashanah and Yom Kippur, Abraham’s Land tells a story of atonement.” Learn more A note on En Mis Palabras personnel and casting: “Touring artists,” a term you may have heard during the interview, refers to the singers, instrumentalists and production staff who perform as part of our year-round education programs. Most shows, including En Mis Palabras, are cast with multiple artists in each role so that Central City Opera is able to best serve our communities from a scheduling perspective. The artists you’ll meet in these episodes are just a few of the many current and past cast members of the show! Leslie Remmert Soich as Abuela and Jovahnna Anderson Borboa as Ana Maria. Photo by Amanda Tipton We’d be remiss if we did not introduce Emily and Steven’s dog, Millie, who made a cameo at the end of the interview. To paint a picture for our podcast audiences, she’s some ambiguous and adorable combination of beagle, basset hound, lab and corgi. Emily and Steven's dog Millie living her best life on a hike in Colorado This episode features musical excerpts from our 2008 archival recording of En Mis Palabras: Composer, Roger Ames Librettist, Jeffrey Gilden Ana Maria, Jennifer DeDominici Rodolfo, Adam Sattley Esteban, Steven Taylor Abuela, Leslie Remmert Soich Piano, Deborah Schmit-Lobis Guitar, Rick Chinisci /episode/index/show/ccopodcast/id/16482338

Season 5, Episode 4 - Growth & Evolution: EN MIS PALABRAS 10/21/2020

Show Notes: Season 5, Episode 3 - John Baril, Brian Cook, Megan Marino, and Michael Mayes 08/24/2020

Show Notes: Season 5, Episode 3 - John Baril, Brian Cook, Megan Marino, and Michael Mayes Brian Cook and John Baril Michael Mayes and Megan Marino, with their two dogs Pete and Vito (now in doggo heaven) This extra-special, bonus episode of Opera Central is a real, uncut conversation between Music Director John Baril, Orchestra Personnel Manager and Violist Brian Cook, Mezzo-Soprano Megan Marino and Baritone Michael Mayes over a couple of beers. The two couples chatted about life and art during the time of COVID outside of the historic Penrose House Complex in Central City after Meg and Mike performed in the Garden for the CCO Al Fresco series. Covering topics like how their lives have changed since the pandemic, how watering flowers and maintaining historic properties have inspired John and Brian to live in the moment, and the ways Meg and Mike envision American opera changing for the better, you'll feel like you're right there among the elements with these four friends. Since the interview had to be recorded outside for safety purposes, you'll hear wind, motor noise, bird calls, the occasional dog barking, and even the famous Central City Wild West Shootout in the background. That's summer life outside in Central City! You'll hear Mike speak first, then John, Brian, and finally Meg. Enjoy! Megan and Michael's "opera meets bluegrass" #CCOAlFresco concert is available online starting August 26 at . Mike, Pete the Dog, and Meg jamming on a porch Along with being Central City Opera's Orchestra Personnel Manager, Brian Cook is a music educator, chef, massage therapist and more! Learn more about him at . Brian Cook with his new sign for Cook with Cook Bread Delivery John and Brian reference "working for (Director of Historic Properties) Eric Chinn" throughout the episode. If you'd like to volunteer to help maintain Central City Opera's historic properties and garden, email us at . Megan and Michael talk about connecting more deeply with their neighbors and making music on their front porches during this prolonged period at home during the pandemic. Jason Hicks, their neighbor/the front man of the acclaimed Blue Canyon Boys, even joined them as a featured artist on our #CCOAlFresco concert series! Read more about Jason and the Blue Canyon Boys at . Blue Canyon Boys (Jason Hicks, center) **Easter egg alert!** Check out a secret performance of Megan Marino's French opera/"Pure Imagination" mashup referenced in the interview . All four of these guests have appeared on the podcast in the past. Check out John's episodes (; ; ; and ). Find Brian's past episode here (), Megan's past episode here () and Michael's past episodes here ( and ). /episode/index/show/ccopodcast/id/15728150

Season 5, Episode 3 - John Baril, Brian Cook, Megan Marino, and Michael Mayes 08/24/2020

Season 5, Episode 2 - Soprano Emily Pulley and Baritone Jonathan Hays 08/03/2020

Show Notes: Season 5, Episode 2 - Soprano Emily Pulley and Baritone Jonathan Hays 08/02/2020

Show Notes: Season 5, Episode 2 - Soprano Emily Pulley and Baritone Jonathan Hays From left to right: Baritone Jonathan Hays, Director of Production Karen T. Federing, and Soprano Emily Pulley Guest host and Central City Opera Director of Production Karen T. Federing interviews Soprano Emily Pulley and Baritone Jonathan Hays on the porch of the historic Pink House in Central City. Emily and Jonathan talk about their history with Central City as young artists and principal singers, how the pandemic has affected their lives, and about volunteering to spend the lockdown helping us maintain historic properties in Central City. This interview is recorded outdoors, and you’ll hear all the ambient sounds of beautiful Central City: wind, a dog barking, bird calls, even the occasional car motor. Watch the video version of this interview on the new Opera Central series at . Emily Pulley and Jonathan Hays both sing concerts for our CCO Al Fresco concert series this summer. Episodes are released digitally every Wednesday through July and August. Watch now at Want to pitch in to help us maintain our historic properties like Emily and Jonathan or volunteer for Central City Opera in another area? Contact us at . About the interview location: the Pink House, previously known as the McGlone House, was built between 1880 and 1895. Former Central City Opera Artistic Director John Moriarty bought the house from the McGlones in 1983, and he resided there throughout many Festivals before donating it to the company when he shifted to Artistic Director Emeritus in 2012. Perched on the hill above the Opera House, the house has been known for its beautiful gardens. These days, the Pink House is used for housing production staff during the summer Festival season. A view of the Pink House's porch in Central City , mentioned several times in this interview, is a fellow Central City Opera regular and past Bonfils-Stanton Foundation Artist. You might remember him as Director/Curator/Soloist in at Central City Opera in 2018 and 2019. He’s currently performing in Seoul, South Korea in the world tour of The Phantom of the Opera, which is managing cautious, era performances. Phantom of the Opera World Tour in South Korea. Photo by Woohae Cho/The New York Times Both Emily and Jonathan have performed extensively with Central City Opera for many years beginning with their time in the as young artists. View photos of their most recent roles with the company: Emily Pulley, Carmen in , 2017; Jonathan Hays, Donald in , 2019. Emily Pulley as "Carmen" in Central City Opera's CARMEN, 2017. Photo by Amanda Tipton Central City Opera's BILLY BUDD, 2019. Jonathan Hays as "Donald" is second row center. Photo by Amanda Tipton /episode/index/show/ccopodcast/id/15432650

Central City Opera Podcast

TOPICS