To bring this future into view, Cincinnati Opera turned to someone who understands costume design as world-building: Kara Harmon.

THE WORLDMAKER BEHIND THE WARDROBE

Harmon’s path to becoming one of the field’s most sought-after designers has been shaped by a lifelong fascination with how clothing moves, speaks, and transforms. A graduate of NYU’s Tisch School of the Arts, she has built an expansive career across Broadway, regional theatre, opera, and film—creating work known for its emotional clarity and visual poetry.

What distinguishes Harmon is her deep dramaturgical approach. She doesn’t simply design garments; she studies characters the way a writer studies narrative, uncovering what they fear, hope, inherit, and dream. Her designs honor lived experience—both real and imagined—and she infuses each piece with cultural memory, specificity, and soul.

CRAFTING CHARACTERS THROUGH FORM AND FABRIC

Harmon’s work pays exquisite attention to silhouette, structure, and texture—elements that reveal a character’s inner life as surely as their words. Across her portfolio, Harmon blends cultural lineage with bold invention, creating designs that feel rooted yet expansive. That same sensibility guides her vision for Lalovavi.

DESIGNING A FUTURE BORN FROM MEMORY

Atlas—Lalovavi’s Afrofuturist city—is not a fantasy untouched by the past. In Harmon’s hands, it becomes a place where ancestral echoes meet visionary possibility. She imagines a future built from materials shaped by heritage, adaptive technologies, ritual symbolism, and the resilience of a community that has forged its own cosmology.

Rather than pulling from a single era or aesthetic, Harmon constructs a collage of influences: diasporic visual languages, organic shapes, celestial textures, and geometric forms that suggest both tradition and transcendence. The result is a style that feels ancient and futuristic at once—a visual continuum from what was to what might yet be.

WHAT COSTUMES REVEAL ABOUT LIFE IN ATLAS

Early sketches explore how each group, guild, and community expresses its identity through dress:

These looks are not decorative; they are cultural frameworks. They show how the people of Atlas live, work, gather, and imagine themselves into the future.

Behind the Seams: The Process

For Lalovavi, Harmon’s process unfolds like an archaeological dig and an act of prophecy simultaneously. It includes:

• In-depth character studies and dramaturgical research

• World-building sessions with the creative team to define histories, rituals, and technologies

• Movement explorations to ensure costumes enhance physical storytelling

• Texture and palette experimentation tied to emotional tone

• Intentional integration of Afrofuturist principles that center authenticity and avoid cliché

Each garment becomes a piece of wearable architecture—an extension of the opera’s mythology and a testament to the characters who inhabit it.

Building the Future Together

Kara Harmon’s costume design is one chapter in a larger creative story—one that uplifts Black imagination, ancestral knowledge, and the power of artistic collaboration. Your partnership helps bring this visionary world to life.

We invite you to journey with us as Lalovavi continues to take shape and rise from imagination into reality.

Help bring Lalovavi to the stage.

This work imagines a future four centuries ahead, grounded in ancestral memory and propelled by Black creative vision. At the heart of it rises Atlas—an Afrofuturist city built on legacy, healing, and possibility.

Imagining a Future Rooted in Memory

Under the creative vision of librettist Tifara Brown, Lalovavi unfolds in a future where culture has not disappeared—it has deepened. Where innovation and spiritual continuity coexist. Where healing isn’t an afterthought, but a foundation.

Brown’s approach honors the idea that history is not something left behind but instead is something that lives on. Carried by those who survive, dream, and build. In Atlas, the sacred and the futuristic are not opposites. They stand side by side, breathing the same air, shaping the same sky.

Atlas is not merely a fantasy; instead, it is an affirmation. A world shaped by those who carried memory forward, who believed the future could hold them fully.

Recently on WLWT-TV’s “Let’s Talk Cincy,” Brown and others from the creative team illuminated the soul of this project—exploring themes of ancestral strength, language, and the belief that Black futures are seeded in the brilliance already carried in our bloodlines. This opera does not imagine a world out of reach; it envisions a continuum—one where what has been and what will be are in conversation.

A First Look at Atlas

The creative team kept returning to concepts of breath and stone, spaces that hold sound the way bodies hold memory.

Here are early set renderings of two of Lalovavi’s central environments by scenic designer Steven C. Kemp:

“I kept returning to breath and stone,” Brown says. “Spaces that hold sound the way bodies hold memory.”

Architecturally, the world blends ancient echo, spiritual geometry, and futuristic luminosity. These are not sets—they are worlds that carry history in their bones. Kemp translated these ideas into form. Rather than decoration, he describes the work as “space that breathes. Structures that listen. Design isn’t backdrop—it’s emotional architecture.”

In the weeks ahead, we’ll continue to reveal more of this world of Lalovavi—its characters and mythic roots, costuming, musical and vocal architecture, the dramaturgical foundation, and the creative process shaping it all.

Watch the “Let’s Talk Cincy” spotlight on Lalovavi

Build the Legacy with us. 

Lalovavi is more than a new opera—it is cultural architecture, community memory, and future-building.

We invite you to walk with us as this world comes alive, and to stand with the artists and storytellers shaping it.

Help bring this vision to the stage.

The long life of Cincinnati Opera did not start where you might expect. Before Cincinnati Music Hall became the home of Cincinnati Opera, opera performances were staged in a most unexpected setting: the Cincinnati Zoo & Botanical Garden. From 1920 to 1971—for more than five decades—arias echoed among the majestic animals and greenery of the zoo grounds. Renowned artists such as Beverly Sills, Montserrat Caballé, and Sherrill Milnes graced the Zoo Pavilion, performing alongside the Cincinnati Symphony Orchestra. Every now and then, the occasional peacock cry would become part of the evening’s performance.

As the Cincinnati Zoo celebrates its 150th anniversary, it’s the perfect moment to revisit this surprising and historic partnership between two of the city’s most beloved institutions. With a peak seating capacity of 4,000, the Zoo Pavilion quickly became a favorite destination for both opera lovers and newcomers. Its inaugural season sold out completely, setting the stage for a long and successful run. Interestingly, the Cincinnati Zoo & Botanical Garden is the second oldest in the United States after the Philadelphia Zoo, similar to Cincinnati Opera, which is the nation’s second oldest opera company. For many longtime fans, the “zoo years” remain an unforgettable era—a time when music, nature, and community came together in a space that was both untraditional and magical. Bravo to the Cincinnati Zoo for 150 amazing years!

As opening night of Fiddler on the Roof approaches, we’re celebrating the memories that have made this production unforgettable. For generations, Fiddler has stirred laughter, tears, and reflection—and we wanted to hear what it has meant to you. We asked patrons to share their personal memories of Fiddler on the Roof, read on to relive the magic through the eyes of our community

Fiddler on the Roof was my mother’s favorite musical. Every Saturday she would play the album throughout the house and clean singing along with the album.  To this day, my brothers and I can sing all the songs without missing a beat. Every time I see Fiddler on the Roof or hear the music, I think of my mother.

- Melissa Helmer

I’ve been alive for a bit. My 1st experience with Fiddler on the Roof was the movie in the theater. It was a class field trip more than once. Those were the days when movie favorites would make 2 or more “circuits”. My school went a couple of years. A MAZ ING.

-Mp

I walked down the aisle at my wedding to ‘One Hand, One Heart,’ and my father and I danced to ‘Sunrise, Sunset.’ This was over 50 years ago, and I’ve loved the music ever since.

-Jacqui

Fond memories of performing the show—I played Tzeitel all summer at Bucks County Playhouse and Falmouth Playhouse in the early ‘80s.

-Teresa B

I first saw Fiddler on the Roof at Cincinnati's Schubert Theater when I was a college freshman. A friend got me tickets for my birthday, and a group of us went together. We loved it, and I remember we all came out dancing with our arms in the air—just like in the show!

-Elaine Billmire

When it was announced my high school drama club would be putting on Fiddler on the Roof, I sooooo wanted the role of Hodel so that I could sing the pretty song— “Far From the Home I Love.”  I practiced and practiced for the audition. 

When the cast was posted, I was thrilled to get the role of Tzeitel, the oldest sister—but sad I wouldn’t get to sing the pretty song.  I embraced the role, sang “Matchmaker,” and enjoyed getting a wedding scene with my crush at the time, who played Motel. Years later, I asked our director, Charly Stewart, why he didn’t cast me in the role I requested (though the student who played the role did a beautiful job).  Charly responded, “Because NO ONE could play YOUR older sister.”  We had a good laugh.  I guess I did have a strong, take-charge personality even then.  I have such great memories from doing that wonderful show with classmates I still think of fondly.  A cast is a family.  Doing theater at that formative time in my life was so uplifting in this journey we call life.  All the best with your production!!

-Julie O’Neill

I performed with the National Touring Company of Fiddler on the Roof with opera star Robert Merrill as a dancer….not having the bottle fall during the performance was always a moment when I looked up to thank God—I made it again without the sound of the bottle breaking on the stage.

-Michael Rozow

Like so many in the 1970s and 1980s, my sister, Betsy, and I included "Sunrise, Sunset" in our weddings but our family believes Fiddler on the Roof played a key role in eventually uniting Betsy and her husband, Tim.
Betsy and Tim knew each other at Lorain High School but didn't date or even run in the same circles. Betsy was busy with leadership activities and Tim had a longtime girlfriend. In their senior year, both were part of the chorus in the annual school musical. And, yes, it was Fiddler on the Roof in 1973! Tim and Betsy were "assigned" to clasp hands during a rousing chorus number. We all believe the spark was lit!
A little more than a year later, Tim started showing up at our house and eventually got up the nerve to ask Betsy out. It was the start of a truly remarkable love story that continues today.
My son and I are opera season ticket holders but guess who is joining us at the July 27 performance? Betsy and Tim!

-Janie Bobel

I first saw Fiddler on the Roof in the 1960s when I was in high school in Owensboro, Kentucky. During my sophomore year I worked as an assistant stage manager for my former junior high school’s spring musical (spring 1968). To thank us, the school’s music teacher/director took all the backstage folks to see a Broadway touring company performance of Fiddler at the old civic auditorium in Evansville, Indiana. I fell in love with the music, the story, and the humor. Who doesn’t love Tevye’s philosophy and conversations with God?!? Within a year I bought the original Broadway cast album with Zero Mostel. I played it so much, and so loudly sometimes, that I was sternly admonished by my mother.
Years later, after the movie version came out and made its way to DVD, I learned my older brother had discovered it because his granddaughter loved to dance to some of the tunes when they viewed it together. After years of separation, Fiddler was the path for my brother and me to reconnect more closely as older adults. L’chaim!!

-Roger Hickman

My wife and I went to the theater in Detroit where Fiddler on the Roof was playing pre-Broadway. As we were standing in line waiting to buy tickets a man approached my pregnant wife and gave her two orchestra seats, explaining that their friends were not able to use them. We certainly enjoyed that performance.

-Michael Porte

Fiddler on the Roof was the very first stage production that I ever performed in, over 50 years ago! I attended Anderson High School, and auditioned in the winter of 1973, my sophomore year.

It was the first time I had ever auditioned for anything, and I was so nervous! But…I must have done all right, and was cast as a daughter in the chorus, and was the understudy for Hodel. Being in the show that spring was simply thrilling for me, and I have so many fond memories of that first time on stage. Little did I know that this was a first step in my becoming involved in musical theatre - After Fiddler, I performed in two additional Anderson musicals, in musicals at Miami University, and did several shows with Cincinnati Music Theater and the Fairfield Summer Theater. As a music educator, I was the assistant music director for a number of musicals in the Fairfield City Schools. I cherish all of these experiences so very much.

So…Fiddler “gave me my start” and it will always live in my heart as a favorite musical - the story and the music are timeless, and I’m so excited to see the Cincinnati Opera’s production!

-Dawn Bruestle

I attended a tiny independent school that mounted a middle school and a high school musical each year. The glorious peak of my eighth grade year (1975) was playing Hodel in our Fiddler on the Roof production, learning the polka, and seeing my English teacher play his violin in silhouette against the scrim. My 88-year-old mother still reminisces about my little train station solo: "How can I hope to make you understand?" Mom and I sang Sunrise, Sunset to my father on his deathbed several years ago. This show holds a unique place in our memories.

-Elizabeth

Love the music and the story!

As a musical family, our middle son climbed the rooftop and had another sibling snap his picture before Mom and Dad knew he was up there! He does play fiddle, but this shot is with his Grandad’s mandolin. Therefore, Mando On The Roof! Didn’t know we had so much in common with the Cincinnati Orchestra’s “fiddler”.

What great gifted musicians they are!

-Virginia Smith

My Fiddler story starts all the way back at the age of 8; my aunt was a high school drama director in central Ohio, and her students were putting on a production of Fiddler on the Roof. To really sell the "old ghost woman" angle, my aunt decided that she would step in for the role of Fruma Sarah. My dad dug out an old CD of the Broadway soundtrack to help familiarize me with the story and music, and I played it on loop night after night...EXCEPT for the Tevye's dream sequence, which I skipped every single time because it absolutely terrified me. The day of the show rolled around, and my dad reminded me multiple times over the course of the drive that even though she might look scary on stage, it would still just be my aunt up there. The show was incredible, and my aunt played her role exceptionally well - so well that I was so scared of her that it took me a solid 10 minutes to be coaxed into giving her a hug after the show. 16 years later, I am elated to be seeing Cincy Opera's production of Fiddler on the Roof - Fruma Sarah and all.

-Maddie Hornikel

So, what’s different about this version of Rigoletto?

For Bucky, it’s all about diving into the psychological depth of the opera. “I think of it as a psychological thriller,” they explain. While staying true to the core of the original staging, this revival leans into the paranoia, grief, and inner turmoil that haunts Rigoletto after a curse is cast upon him. This curse is meant to condemn Rigoletto to suffer the same sorrow and loss that has been inflicted onto others and what it feels like to live through it.

“My job is to preserve the original ideas,” Bucky says. “Rigoletto is one of the top 20 operas”, and due to its popularity, any changes spark opinions. Still, the most important thing at large is keeping the original foundation there while telling the story.

As revival director, Bucky’s role is both interpretive and collaborative—guiding a new cast through the emotional and dramatic weight of the opera while honoring the intent of the original creative team. It’s a delicate balance of fidelity and reinvention, and one they’ve approached with care and insight.

The most exciting part? A few of the principal singers are also making their role debut, so its an exciting first journey for everyone.

Rigoletto is a harsh story, but beneath it all lies a beautiful and heart-wrenching relationship. “There’s a deep father-daughter relationship at the heart of it,” they note, pointing out how this reflects aspects of Verdi’s own life and grief. For Bucky, it's these layers of intimacy and vulnerability that make the opera so timeless. Of course, directing a revival of such a well-known opera comes with its own challenges. And yet, despite its age, the themes remain strikingly relevant today.

When Bucky is not directing, they’ve enjoyed exploring all things Cincinnati and Cincinnati Opera. “It’s such a lovely company culture,” Bucky says. They’ve especially enjoyed discovering Over-the-Rhine and its vibrant food scene between rehearsals.

They encourage audiences to look for the details—like the costumes, some of which were designed in Hungary and are making their debut this week as well. “Keep an eye on the Duchess,” Bucky says. “Vita Tzykun’s design work is absolutely stunning.”

After Rigoletto, Bucky will return to their home city of San Francisco later this summer—to the very opera house where the journey first began. “Coming back to where I started as a children’s chorister, now as a director—it’s a full circle moment.”

And for audiences here in Cincinnati, it’s a chance to experience Rigoletto through a new lens: one that’s introspective, intense, and profoundly moving. If you can, come more than once and see how many details you can spot while seated in Music Hall.

For Tina Tammaro, painting is less like a blueprint and more like a journey—one filled with uncertainty, emotion, and evolving perspective. Much like opera, her work unfolds in layers.

“I don’t have any idea what the painting is going to look like,” she says. Often working on several canvases at once, her studio pulses with half-formed narratives, evolving characters, and the tension of something unfinished. Her creative process is intuitive, guided by feeling rather than structure.

This sense of storytelling lies at the heart of her work. “Some pieces take three months, others a year,” she explains. “What’s important is the emotional resonance—something very personal that you can attach yourself to, but also something universal.” She wants viewers to see themselves in the work while sensing something larger at play. She likens her painting to arias rich in emotion, expression, and layered in meaning.

“They’re dramatic, like opera!” she says. “All my work is about power—who has it, who loses it, and how people use it.”  This theme is a constant in opera, and constantly shows up in everyday life.

Tammaro’s inspiration comes from real life experiences—conversations, beliefs, and what is happening around us every day. She is endlessly inspired and incredibly intuitive. Just like opera, her work asks to be seen more than once. Each time reveal something new.

“What’s wonderful about paintings,” she says, “is that you can see the whole story all at once.” Unlike opera, which unfolds moment by moment, visual art reveals its emotional arc instantly. Just like the dense twists and tangles of some operas, art is filled with deeper meanings beyond the colors and designs you see at first glance.

Tammaro’s artistic sensibility was shaped early on by a job at the Whitney Museum of Art in her twenties. Watching children interact with artwork left a lasting impression. She shared how incredible it was to witness children give their raw feedback to the art they saw. It truly showed her how powerful art can be.

As exemplified in Tammaro’s work, each canvas is a stage, and they echo the themes of opera: love, betrayal, ambition, and justice. Through bold choices and perspective, her paintings demand attention—and invite introspection. Her paintings don’t ask to be seen; they demand to be felt.

When the creators of Fiddler on the Roof—book writer Joseph Stein, composer Jerry Bock, lyricist Sheldon Harnick, and director/choreographer Jerome Robbins—set out to adapt Sholem-Aleichem’s Yiddish tales about a beleaguered milkman with three marriageable daughters, they didn’t expect to make a splash, much less a fortune. They were motivated by simple love of the material. The stories were just so warm and human and emotional,” Harnick once told me, “that they cried out for music.” As the artists searched for a backer, one after another rejected the “property” (as potential Broadway shows are known) for being likely to appeal only to a narrow audience. One naysayer, referring to the nationwide Jewish women’s organization, famously asked, “What will we do when we’ve run out of Hadassah groups?” Too bad he didn’t invest!

Opening on Broadway in September 1964, the show swept the Tony Awards that season, winning in nine categories, and it ran for a then record-breaking 3,242 performances (and has been revived on Broadway five times). Every single day through the last seven decades (except during the COVID lockdown), Fiddler, by all accounts, has been on stage somewhere in the world, from Caracas to Klaipeda, in schools, community theaters, or professional venues.

A major reason for its abiding popularity is obvious: it’s a great show with memorable songs, exciting choreography, and endearing characters. But that doesn’t account for the myriad ways Fiddler has seeped into many cultures, glowing with radiant meanings that far exceed the satisfactions of even the best Broadway blockbusters. Fiddler was the first work of American popular culture to offer a general, post-Holocaust audience an affectionate image of the Yiddish Old Country, proudly celebrating the world Ashkenazi Jews had come from. For Jewish Americans from that back- ground, the show was an exhilarating coming-out party. Spectators wrote to the producers to thank them for making them unashamed to be Jewish. At that time, it was nothing less than astonishing to see characters on a popular stage lighting Shabbos candles or getting married under a chuppah; until then, such images belonged only to specific communal Jewish spaces, unless they were being played for laughs in mainstream venues.

Fiddler helped frame postwar Jewish identity and memory in the United States, and beyond—and the way non-Jews understood them. At the same time, running on a parallel track of universality, the show spoke as deeply to all kinds of audiences—to anyone familiar with the tensions between steadfastness and flexibility, cultural pride and adaptation, the agonizing loss and hopeful possibilities of change. Which is to say, everyone. Joe Stein loved to tell the story of attending the first production in Tokyo, where a producer asked him how Americans could understand the show since it was, after all, “so Japanese.” The show’s essential gesture is dialectical—on the one hand, on the other hand, as Tevye often says when he considers his wrenching options. Having transported old Yiddish stories into the form of amid-century musical, Fiddler is a work of cultural adaptation—and it is about cultural adaptation. And it thus remains open—indeed, inviting—to every generation to engage it anew.

Alisa Solomon is the author of the award-winning book, Wonder of Wonders: A Cultural History of Fiddler on the Roof, and a professor at Colombia University.

Villain loves Woman. Woman loves Good Guy instead. Villain makes drastic attempts to win Woman. Most characters die by the end. We know this story. So why does Giacomo Puccini’s Tosca keep us in a stranglehold 125 years after its premiere—and what can we still learn from it? Often, the art that moves us most manages to balance this familiarity (classic stories, archetypal characters, timeless concerns) with a singular uniqueness (Puccini’s music, a talented cast bringing it to life on stage). We return again and again to witness as the story plays out, and ideally to discover something new each time. In an authoritarian Rome, our villain Baron Scarpia polices the streets from the shadows. He has long been obsessed with our heroine, Floria Tosca, and when her love—the artist Cavaradossi—gets caught attempting to free a political prisoner, Scarpia uses Cavaradossi’s arrest as a bargaining chip to get what he really wants: Tosca.

However, while simple descriptions such as these tend to reduce Tosca to the role of victim or even pawn, there is much more to discover. When the opera opens, we meet Tosca in a state of jealousy—in fact, it is only because she is pursuing this jealousy that she discovers Cavaradossi’s secret agenda and becomes embroiled in the political chess match in the first place. Act II puts Tosca under enough pressure to break most people: Scarpia tortures Cavaradossi until she gives up her information, then threatens to execute him unless she gives herself over. She agrees—what else can she do, in the moment?—but after securing Cavaradossi’s freedom along with her own, she wrenches back her agency in the form of a knife and kills Scarpia.

The final act finds Tosca betrayed yet again: Scarpia has tricked her by secretly ordering Cavaradossi to be executed, and she is to be arrested. Rather than lose her freedom once more, Tosca leaps from the castle walls to end her life. A coward’s way out, or a final act of agency? Once arrested, Tosca would have been put to death—not only for her role in freeing a political prisoner, but now also for the murder of her blackmailer and rapist. Tosca is left with one final way to take control of her own life, one ultimate choice that is hers and hers alone. She makes that choice. To return to our original question, why do we continue to revisit familiar stories, even when we know how they end? Perhaps partly to explore the ways that stories fail to change—in 2025, themes of political machinations, sexual assault, and violence against women are as relevant as ever. But perhaps we also return to these predictable stories to understand how we are changing, such as the subtle ways we discover strength and agency in a character who is given few choices and yet refuses to completely forfeit her power. Sopranos have sung the sumptuous role of Floria Tosca for 125 years, but what we hear, and what we believe, Tosca is telling us, continues to evolve.

Erica Reid lives in Colorado and returns often to her hometown of Cincinnati, Ohio. She writes for arts organizations and teaches poetry. ericareidpoet.com

Rigoletto is a study of contrasts. The source material, Victor Hugo’s 1832 play Le roi s’amuse (The King Amuses Himself), is, in true Hugo fashion, a subtly pointed critique of the abuse of power. The original play was so pointed it was banned for several decades after opening night. Verdi and his librettist, Francesco Maria Piave, had to deal with Austrian censors who saw their plot as inappropriate for the operatic stage. Verdi and Piave changed the character of the King of France to the nondescript Duke of Mantua and the jester Triboulet to Rigoletto. But they kept the moral tension and tragic consequences of revenge at the heart of the work, which was rapturously received at its premiere in 1851.

Rigoletto is also deceptively entertaining, bringing the tension of the source material into the very essence of the work and how audiences respond to it. Two of the most memorable opera arias ever, “La donna è mobile” and “Questa o quella,” are light and melodically catchy—sung by a character who routinely seduces and rapes women. Our protagonist, Rigoletto, is the Duke’s jester—and becomes the victim of the cruelest joke. As the Duke’s personal cheerleader, he mocks and teases the husbands, fathers, and relatives of the Duke’s victims. Yet he does whatever he can to keep his daughter, Gilda, from the Duke’s reach. Such an act shows that perhaps his cruelty is more act than essence; how to speak against the person who helps you maintain your quality of life?

And yet in his desire to protect, he leaves Gilda unguarded. She is not allowed outside the home except to attend church, always chaperoned by a nurse. At no point, does he sit her down and prepare her—to spot liars, to defend herself against predators, or to be wary of strangers. It is at church that she meets who she thinks is a poor student—actually the Duke in disguise. She has no knowledge of her father’s profession, not even his name; and so when she learns her father is the court jester and her father learns she has slept with the Duke, it is one of several cruel jokes that occurs and hints to the ultimate tragedy to come.

The Duke, used to moving through the world with no consequences and getting what he wants, gets no comeuppance: there is no descent into hell like Don Giovanni or Faust, nor a triumphant mob of disgruntled courtiers carrying him off stage. He is completely unaware of Rigoletto’s plot to assassinate him. The disconnect between awareness and consequences heightens the disparity between the Duke and Rigoletto: one gets off scot-free, the other fails in his plan of righteous revenge, in part because his daughter chooses to sacrifice her life for a man that she sees as her true love.

And so, amidst the cheery, earwormy tunes of this popular opera lies a series of moral conundrums and frustrations. Is this a commentary on the limits of revenge? That one’s moral compass should never be compromised or that it can never be without stain? That this world is not suited for those pure and good? That is for you to decide.

Alexandra Kori Hill is a musicologist, editor, and freelance writer. Her work has appeared in The New York Times, I CARE IF YOU LISTEN, and the Journal of the Royal Musical Association.

We’re delighted to welcome Will Selnick, Cincinnati Opera Board Associates Chair, as a guest blogger this month. Read on to learn more about Will’s personal journey with opera and how it has influenced Cincinnati Opera’s efforts to create a welcoming place for newcomers to the art form.

Spring is one of the most exciting times for the Cincinnati Opera Young Professionals (COYP). As the company prepares for its 2025 Summer Festival, we’re already in the middle of our year-round programming. As I write, we’ve already hosted two of three of our beloved Singers and Spirits events—evenings of music in intimate and unexpected settings, providing community members with what is usually their first “up-close” experience with the power of the operatic voice. We also recently held our second annual fund- and friendraiser, Bacchanal, which exceeded our expectations in terms of both fundraising and attendance, and we’re already planning the third! In addition to these events, we still have our final Singers and Spirits on Tuesday, April 29 at Redtree Coffee & Art, our reimagined Divas and Diamonds evening of sustainable luxury at the John Hauck House on Wednesday, May 21, as well as our fabulous Opera is a Drag, which will again be a part of Cincinnati Opera’s Pride celebration. 

These evenings come together through the work of our dedicated COYP board and the incredible Cincinnati Opera staff. This company has been a through line in our city’s history for over 100 years and has touched the lives of so many. I saw my first opera at Cincinnati Opera when I was three years old. This was before the recent renovation of our magnificent performance venue, Music Hall, and the old box seats consisted of small enclosures with small door frames, red velvet curtains, and brass fixtures—I thought it was the fanciest place in the whole world. As the curtain rose, my cousin Megan and I were totally transfixed, and neither of us squirmed nor spoke for the entire first act. It may have helped that the opera was Aida, and these were the days of the circus-style Triumphal March with, to my memory at least, herds of animals and units of soldiers parading across the stage in a seemingly endless line. The opera instituted a rule in the next year or so that children had to be six or older to attend, but we were permitted to keep coming due to our proven good behavior. I haven’t missed a season I’ve been in town for since. 

When I was around 16, my younger sister wanted to take voice lessons, so I drove us to the Musical Arts Center, where voice instructor Karl Resnik proceeded to test both of our voices. Through just a few words and adjustments, I felt, for the first time, a taste of what it was like to produce that sound. He took me on as a student, and I later ended up at Northwestern for a degree in music with a focus in opera performance. I performed professionally for a while, and though I loved singing, I ultimately wanted to find another way to contribute to the art form that had given me so much. As Cincinnati Opera was preparing to celebrate its 100th anniversary in 2020, I was asked to co-chair the after-party for that year’s gala. What was originally a short-term commitment grew as it became clear that plans needed to shift due to the emergence of COVID-19, and the event was postponed. In the meantime, I was asked to join the Center Stage Board Associates—the young professional arm of the Cincinnati Opera Board—and I found a collection of people like me who gave so much of themselves to this company and this art form. When, a few years later, I was asked to consider becoming president for what is now known as the Cincinnati Opera Young Professionals, I said yes without hesitation because I knew the team we had built as a group was strong and ready for the challenges ahead.

Cincinnati Opera has provided me with inspiration and an artistic home that I feel proud of. The work we do changes lives. It changed mine, and I’m eternally grateful.

You’re invited to learn more about COYP and how to get involved here.

For all of Cincinnati Opera’s 105 seasons, our work has been elevated by our valued artistic and professional partners. We’d like to introduce you to some of the collaborators who help bring our Summer Festival to life.

Cincinnati Symphony Orchestra

The Cincinnati Symphony Orchestra is a key player—literally! Since Cincinnati Opera’s founding in 1920, the CSO has been our musical partner in the pit. In fact, one reason Cincinnati Opera performs primarily in the summer is that we were founded, in part, to provide year-round employment to CSO musicians. This bedrock partnership proves that great music is better when it’s made together.

Did you know? The CSO’s Music Director Designate Cristian Măcelaru made his Cincinnati debut conducting Cincinnati Opera’s 2015 production of Verdi’s Il Trovatore.

American Guild of Musical Artists

The American Guild of Musical Artists (AGMA) is the professional union for opera singers (soloists and choristers), directors, stage managers, choreographers, and dancers. AGMA ensures fair working conditions and advocates for artists so they can focus on delivering their best work. Cincinnati Opera is proud to partner with AGMA and shares its commitment to valuing the people at the heart of the art.

Did you know? Founded in 1936, AGMA now represents more than 6000 artists across the U.S.

Cincinnati Stage Employees (IATSE Local #5 and Local #864)

While performers shine under the spotlight, members of Cincinnati Stage Employees (Local #5 and Local #864 of the International Alliance of Theatrical Stage Employees) make sure everything runs smoothly behind the scenes. These skilled professionals handle lighting, sound, scenery, props, costumes, and so much more, and their expertise helps make every performance look seamless.

Did you know? Members of Local #5 and Local #864 contribute to the success of many of the region’s most popular performance venues, including Music Hall, the Aronoff Center, the Taft Theater, Riverbend Music Center, and beyond.

Cincinnati Arts Association

Cincinnati Arts Association (CAA) manages two of the city’s most iconic venues: Music Hall, where Cincinnati Opera performs, and the Aronoff Center for the Arts. CAA’s team ensures that Music Hall offers an inviting atmosphere where Cincinnati Opera audiences can fully immerse themselves in each performance.

Did you know? CAA recruits, trains, and oversees the dozens of volunteers who serve as ushers at Music Hall throughout the Opera season. You can learn more about volunteering for CAA here.

University of Cincinnati College-Conservatory of Music

The centerpiece of every Cincinnati Opera performance is its incredible voices, and the University of Cincinnati College-Conservatory of Music (CCM) offers one of the highest-regarded training programs in the world. Many of CCM’s talented students and graduates get their start on Cincinnati Opera’s stage and behind the scenes, gaining valuable experience while adding fresh energy to each production. Since 2011, the Opera and CCM have partnered on Opera Fusion: New Works, a unique creative collaboration that fosters the development of new American opera.

Did you know? In 1916, Bertha Baur, then-president of the Cincinnati Conservatory of Music (a CCM precursor), recruited conductor Ralph Lyford as the first head of the school’s new opera department. Four years later, Lyford and local philanthropists Mary Emery and Anna Sinton Taft joined forces to officially found the Cincinnati Summer Opera at the Cincinnati Zoo.

Cincinnati Ballet

When opera calls for dance, Cincinnati Opera frequently partners with Cincinnati Ballet to add beauty and movement to our productions. Whether it’s a full ballet sequence like in Aida or Carmen or subtle choreography, their dancers offer another layer of powerful storytelling to the stage.

Did you know? Cincinnati Ballet dancers will be a dynamic part of Cincinnati Opera’s upcoming production of Fiddler on the Roof (July 2025).

Take your opera out for a hike!
Presented in partnership with the Cincinnati Parks Foundation

Our friends at the Cincinnati Parks Foundation are in the midst of their Winter Hiking Challenge, a 6-week walking challenge that seeks to inspire people to embrace nature and improve their overall health during the colder and more challenging months. It draws inspiration from the Norwegian saying: “There’s no such thing as bad weather, just bad clothes.”

On Saturday, January 4, the Foundation, in conjunction with Cincy Hikes, hosts a hike in French Park in Amberley Village. French Park holds a special place in the heart of Cincinnati Opera’s Harry T. Wilks Artistic Director Evans Mirageas, who resides nearby. Enjoy this nature-inspired playlist curated by Evans while you enjoy one of French Park’s many stunning trails!

From Evans:

Dear listener,

Nature courses throughout opera. Perhaps one of the most ardent and prolific depictions of the natural world comes from the pen of Richard Wagner. His massive Ring cycle takes place mostly in the out of doors, long ago and far away. Each of the four operas of the tetralogy has music singing about or conjuring nature. Likewise, his opera Tannhäuser has an apostrophe to the Evening Star. Dvořàk sings to the moon and Schubert in his songs walks along rivers, streams, and lakes. And Handel’s most beloved opera aria is an ode to the Plane Tree!

Enjoy!
Evans

SELECTIONS:

Richard Wagner: Das Rheingold
“Entrance of the gods into Valhalla”

Richard Wagner: Die Walküre
“Winterstürme” (Winter storms give way)

Richard Wagner: Siegfried
“Waldweben” (Forest Murmurs)

Richard Wagner: Götterdämerung
“Siegfried’s Rhine Journey”

Richard Wagner: Tannhäuser
“O Du, Mein Holder Abendstern” (Song to the Evening Star)

Antonín Dvořàk: Rusalka
“Song to the Moon”

Hector Berlioz: The Damnation of Faust
“Invocation à la Nature” (Invocation to Nature) 

Franz Schubert:
“Die Forelle” (The Trout) 

Franz Schubert:
“Der Lindenbaum” (The Linden Tree)

George Frideric Handel: Serse
“Ombra mai fu” (Never was a shade - Ode to the Plane Tree)

LISTEN/WATCH ON YOUTUBE:

LISTEN ON SPOTIFY:

For nearly 50 years, Cincinnati Opera and 90.9 WGUC have collaborated to bring the magic of live opera to listeners across the region, making the Opera’s performances accessible to all.

The partnership between the longtime neighbors (WGUC is currently situated across the street from Music Hall’s back door*) began in 1977, when WGUC started broadcasting Cincinnati Opera performances live from the stage. Thanks to a generous gift from the Corbett Foundation, a state-of-the-art recording studio was built at Music Hall, ensuring that these performances were captured with the highest quality and making it possible for audiences near and far to experience the thrill of live opera at home.

The collaboration reached another milestone in 1980 when WGUC used its uplink capability for the first time to broadcast Cincinnati Opera’s production of The Pirates of Penzance not just locally, but to listeners in San Francisco, Boston, Philadelphia, and other U.S. cities.

Fast forward to now, and the tradition continues as WGUC airs Cincinnati Opera’s 2024 Summer Festival performances on Sunday evenings this November. Starting November 3, listeners can tune in to hear Cincinnati Opera’s thrilling productions of Mozart’s Don Giovanni (Nov. 3), Verdi’s La Traviata (Nov. 10), and Paul McCartney’s Liverpool Oratorio (Nov. 17). Each broadcast begins at 8 p.m. ET and can be heard locally on 90.9 FM or online at wguc.org.

Whether you’re a lifelong fan or new to opera, WGUC’s broadcasts of Cincinnati Opera’s season offer everyone the chance to enjoy world-class performances wherever they are.

Cincinnati Opera’s 2024 Summer Festival broadcasts on 90.9 WGUC are made possible through the generous cooperation of Local 1, the Cincinnati chapter of the American Federation of Musicians, and the American Guild of Musical Artists. Thanks also go to the Louis and Louise Nippert Charitable Foundation; H.B., E.W., and F.R. Luther Charitable Foundation, Fifth Third Bank, Trustee; and The Willard and Jean Mulford Charitable Fund and The Victoria L. Memmel Charitable Fund of the Cambridge Charitable Foundation for their support.

*WGUC, along with their parent company, Cincinnati Public Radio, will be moving to their newly constructed headquarters in Evanston over the coming months. Learn about this exciting project here.

September is National Classical Music Month! To celebrate, Cincinnati Opera’s Harry T. Wilks Artistic Director Evans Mirageas rounded up his top 10 American opera excerpts. Happy listening!

1. “Bess, You Is My Woman Now” from The Gershwins’ Porgy and Bess

2. “The Willow Song” from Douglas Moore’s The Ballad of Baby Doe

3. “Must the winter come So soon?” from Samuel Barber’s Vanessa

4. “A Quality Love” from Richard Danielpour’s Margaret Garner

5. “Peculiar Grace” from Terence Blanchard’s Fire Shut Up in My Bones

6. “To this We’ve Come” from Gian Carlo Menotti’s The Consul

7. “Ain’t it a pretty night?” from Carlisle Floyd’s Susannah

8. “Our Very Own Home” from Gregory Spears’s Fellow Travelers

9. “A Weekend in the Country” from Stephen Sondheim’s A Little Night Music

10. “Listen to the Rain” from Marc Blitzstein’s Regina

A standout offering—one that’s new this year—is Discover the World of Lalovavi: An Afrofuturism Opera. Lalovavi (which translates to “love”) is a brand-new opera commissioned by Cincinnati Opera that will receive its world premiere at Music Hall. Set hundreds of years into future, Lalovavi follows Persephone, a young girl who discovers that she carries a rare gene that could unlock eternal life, setting her on a journey of self-discovery and adventure. This program, a 2-3 day experience geared toward students in grades 7-12, invites them to dive into the captivating world of Afrofuturism and create their own futuristic stories, sparking creativity and discussion around the opera’s themes of identity and heritage.

For the youngest audiences, Opera and Oranges is a delightful introduction to opera for children ages 3-6. This program combines an opera-themed storybook with live music, inviting kids to sing along and engage with the story. Plus, there’s a healthy snack involved—making it a fun and enriching experience that also promotes nutritious eating.

Opera Storybook Hour is perfect for slightly older kids, ages 5-10, who love a mix of music and crafts. Professional opera singers bring stories to life with their voices, followed by creative activities like crafting masks inspired by characters from operas like The Magic Flute. It’s a wonderful opportunity to engage students in storytelling, music, and hands-on art.

For students ages 10 and up, Behind the Voice offers an insider’s look into opera careers. Participants hear from professional singers about their journeys—from vocal training to auditions—and enjoy live performances. Students benefit from these unique peeks into diverse career pathways within the arts.

Masterclass is another fantastic opportunity for students of all ages to learn directly from opera professionals. In these sessions, artists provide insights on vocal technique, stage presence, and the art of musical storytelling. The personalized feedback given to young performers helps them refine their skills and grow their confidence within a supportive environment.

Another all-ages offering is Stagebound!, a 30-minute touring show that brings opera straight to schools and community spaces. With a mix of narration, song, and a high-energy costumed finale, it’s a lively introduction to opera that’s both accessible and entertaining.

Last but not least, there’s Opera and Yoga and Music in Motion, both of which combine movement and music to exercise both mind and body.

Cincinnati Opera’s school-based educational programs highlight the power of the arts to inspire creativity, build confidence, and open up new perspectives for students. Programs are also highly flexible and can be customized to suit varying time limits and budgets.

To learn more, visit us online.

Every summer, Cincinnati Opera welcomes a flood of interns to support their summer season. This gives way to an incredible opportunity for students of varying fields of study to gain real world experience in a professional arts setting. These internships range from directing and lighting all the way to philanthropy and educational outreach. I, myself, had the incredible chance to be this year's communications intern for the summer festival series and wanted to share the experience of a few other interns!  

Andrea Saavedra Ferreira

“As the community engagement and education intern, I have gotten the opportunity to connect with different local non-profits, work with youth and elderly, produce community-wide programs, create interactive activities and crafts for youth educational programs, and publish an article and a program for a community event. My favorite memory was finding out my sister and I were in Cincinnati Opera's Instagram and Facebook for student tickets ads based on a 2023 photo of my family attending The Barber of Seville! After graduating from Northern Kentucky University, my goal is to go to graduate school for school psychology in Chicago and implement the opera's education programs into school's curriculum as well as kickstarting collaborations with the arts organizations for music/art therapy sessions for special needs and sensory-friendly students!”

Callie Hartel

“Through this internship, I have assisted the costume department with multiple tasks. I organized costumes, took notes during fittings, made paperwork and files for organization, and attended production meetings. I have been able to work closely with many different staff members to help and learn about the costume department. My favorite memory from this season has been all the orchestra dress rehearsals. These nights were the first times I was able to see the show all put together with all the costumes out on stage. It was my favorite night for every show and I hope to become a designer in the future. I am open to continuing in either the costume industry or the fashion industry with my main goal to act as a designer.”

Johnny Sebastian

“My job as production management intern is attention to detail! I do a variety of jobs to assist in the production process. This means that I work with all other departments to make sure they have the items, information, and financials they need to pursue a project. I also act as additional support for quick developmental changes within the Opera, which is a rapidly changing industry. I work under the Production Manager and Director of Production. My favorite memory from the season thus far has been the Intern Lunch & Learns. Every few weeks, interns get a chance to have lunch with a prominent head of a department within the opera. They discuss their background, role in the company, and advice for the interns. It has been very informative and insightful to learn from true professionals, as well as fun to hang out with the Intern class. I plan to continue to pursue work that leverages my strengths but allows me to challenge myself in a new environment. I plan to pursue teaching within the near future. I also plan to continue to play jazz bass around the Dayton area and through the Dayton Jazz Ensemble.”

Katie Lin

“I work closely with the communications intern and team. I create fun and engaging content for current and new audiences on social media, build and send emails promoting our events, create digital ads, capture footage of rehearsals, and more! My favorite event here was Opera in the Park! It was so cool to watch a lot of people experience free opera for the first time. It was a beautiful day, and everyone seemed to have so much fun! I'd love to work at a performing arts organization or in a university setting while performing on the side.”

Caitlin Zook

“As the communications intern, I worked a lot with the marketing intern and team. I was able to publish articles and blog posts, draft press releases, plan and execute content, observe media interviews, and much more! My favorite thing that I was able to do with Cincinnati Opera this summer was interview our company photographer, Phil Groshong, and write an article celebrating his 40th year with the opera. A huge aspect of communications is collaboration, so as the communications intern I was able to observe almost every aspect of the Opera and talk to many professionals in this field. I also enjoyed the freedom I had to be silly on the social media pages and connect with the patrons. I plan to continue working in communications for professional performing arts organizations as well as continue performing.”

Groshong (known to many as “Photo Phil) started his journey with the opera photographing a Cincinnati Opera Young Professionals' event. Eventually he formed a friendship with former CEO (now General Director Emerita) Patty Beggs, and he found himself growing more involved with the arts and opera. Among his favorite Cincinnati Opera productions are Susanna and Dead Man Walking, which he captured with a keen eye for detail and emotion. What resonates most with Groshong about opera is its ability to transport him—he finds solace in closing his eyes and immersing himself in the symphonic melodies and powerful vocals. 

Groshong's passion for photography ignited in a friend's darkroom, initially as a hobby rather than a career path. However, his dedication and love for the craft soon paved the way to a fulfilling profession. As retirement approaches, Groshong focuses less on commercial photography, now selecting only projects that align with his passions. He finds joy in photographing locales depicted on old postcards, studying the changes over time, and honing his photographic skills. Ironically, what drew him to photography—friendship—is also what keeps him rooted at Cincinnati Opera. He holds deep admiration for the staff and members of the opera community, cherishing the connections he has cultivated over the years. Groshong's enduring commitment to Cincinnati Opera is not merely about capturing moments but about cherishing the relationships and experiences that have enriched his journey behind the lens. To celebrate Photo Phil’s legacy, his work will be displayed in the P&G Founders Room during the 2024 production of La Traviata. 

Painter Maggie Barnes had only been home in Cincinnati for two weeks when she received news that made her jaw drop. 

Barnes had been conducting a deep-dive into the music of Paul McCartney for an extensive series of paintings inspired by his work. In the summer of 2023 she traveled to the UK to gather inspiration, including studying and painting the sites that McCartney explores in his 1991 Liverpool Oratorio. A mere two weeks after that trip ended, her daughter phoned to ask if she had heard the news: in 2024, Cincinnati Opera would be giving the world premiere performance of the stage adaptation of the Liverpool Oratorio.

“I told her, you have to be mistaken,” Barnes remembers, still astounded.

Barnes reached out to the Opera and a partnership was formed. Her series of eight paintings tracing the storyline of the Liverpool Oratorio, including the striking Liverpool Cathedral, will be displayed in the P&G Founders Lounge during the opera’s premiere, and another two dozen related works will grace the walls of nearby Wash Park Art Gallery.

For Barnes, this lucky happenstance is only one of countless ways that art has added delight to her life. Proudly sober since 2003 — a fact she is comfortable discussing publicly — Barnes looks back on the way that painting and other artistic pursuits have helped her guide her life. After losing an artist friend due to issues related to alcoholism, she began looking for healthy ways to process her grief.

“This idea came to me: why not pick up a paintbrush instead of a drink?” she recalls. Barnes had never painted in a serious way before, but 20 years later, has hardly missed a day at her easel. “I found out I paint as obsessively and as emphatically as I ever drank,” she says with a wry laugh. Barnes feels her art and her sobriety are so entwined it’s difficult to separate them — not only did she pursue painting to support her sobriety, but the tools and processes of her sobriety have also made her a stronger artist. “I painted like my life depended on it,” she adds. “And it did.”

This woodblock was inspired by several different fairytales, most notably, The Island of Happiness by Madame Marie-Catherine d’Aulnoy, who also coined the term “fairytale.” She and her works are not as well-known as her male counterparts of the time but include many powerful and complex female main characters. Spill the Tea also has hints of Greek Mythology, references to Lewis Carroll’s Alice in Wonderland, and Leonardo da Vinci’s The Last Supper.  

In Ancient Mesopotamian mythology, Tiamat was the primordial mother goddess and personification of saltwater and chaos and is often depicted as a serpent or a dragon. Together with Apsu, god of freshwater, she births a family of gods and goddesses. One of the later gods, Marduk, decides to overthrow Tiamat and with his arrow, shoots her in the heart, and splits her in half. Her top half becomes the heavens and her bottom half the Earth. From her tears sprang the Tigris and Euphrates Rivers.    

I chose to display Tiamat as both a hybrid serpent-dragon figure displaying immense raw power and carnage. Ships and boats have traditionally been a male-dominated field with the ships bearing women’s names. I chose to have Tiamat violently split this ship into two halves, much like her body from the original myth. 

Joan of Arc, a famous historical and mythical figure, is the patron saint of France. She claimed she received divine visions from God, and it was her mission to free France from British occupation. Although she never fought in battle, just her presence on the battlefield was enough to rally the French army’s spirits and lead them to victory. 

She was eventually captured and sold to the English and put on trial for heresy and wearing men’s clothing. She was found guilty and burned at the stake at the age of nineteen.  

In this contemporary image of Joan of Arc, instead of depicting the horse she originally would have ridden, she now rides a motorcycle, foot defiantly placed upon the front wheel in the midst of flames. She still waves the white flag adorned with the fleur-de-lis motif as smoke billows in the background. She displays a short haircut which was not typical of women at the time and wears her pantsuit with pride. 

The Malleus Maleficarum (translated as Hammer of Witches) was a guide written in 1486 by German Catholic clergyman Heinrich Kramer and provided a guide for hunting and persecuting witches.  

This woodcut is filled with symbolism such as the apple, which alludes back to Eve, and the rope and water, which served as tools of persecution.  

The moon and the repeating motifs in the border represent Hecate, who was the goddess of the night, magic, and witchcraft, and the feather boa symbolizes the witch’s familiar. Also present is the literal inclusion of the hammer itself, that She now wields. 

Access to opera can sometimes feel out of reach, especially for audience members with diverse abilities and accommodation needs. Cincinnati Opera strives to change that with its second annual Access Night at the Opera, on Saturday, June 15, with its season-opening production of Mozart's Don Giovanni.  

Access Night is also presented in part to celebrate Disability Pride Month, which takes place in July. For more events surrounding Disability Pride Month, please visit the Disability Pride Cincy website. 

What makes Access Night different from other Cincinnati Opera performances? This special evening is designed to shine a light on the numerous accessibility resources available at Music Hall. In fact, many of these services and resources are available at every Cincinnati Opera mainstage performance! Some of the accommodations available on Access Night and throughout the season include: 

• ASL-interpreted Opera Insights 
  One hour before the performance in Music Hall’s Corbett Tower (Access Night only) 

• Large-print programs 

• Braille programs 

• Projected English translations  
  Visible above the stage and on screens throughout the auditorium during the performance.  

• Audio description 
  Live descriptions of the stage action for people who are visually impaired. 

• Assistive listening system 
  Special devices designed to enhance the sound of the performance. 

• Wheelchair spaces 
  All levels of Music Hall are accessible by elevator and wheelchair spaces with companion seats are on each floor.  

• Accessible parking and assistance for people using wheelchairs 

• Bariatric seating 

We’re grateful to our partners at the Cincinnati Association for the Blind and Visually Impaired (CABVI) as well as the Clovernook Center for the Blind and Visually Impaired for helping make many of these resources available. Please visit the Accessibility page on our website for more information. 

Access Night Partners

By Caroline Clegg

In preparing to stage Liverpool Oratorio, I immediately recalled its haunting refrain “… and I will always love you. I’ll welcome you into this world …” sung by a mother to her baby amidst the trauma of war. It struck me how relevant this piece is today with the immediacy of the music and libretto. When I first heard Liverpool Oratorio in 1991, I remember how this refreshingly honest contemporary work exploded layers of classical hierarchical norms. It reached the top of the classical charts, and you would hear people singing short refrains from it or catch it on the radio. It spoke directly to people, becoming a cultural touchstone that echoed shared hopes and dreams. Now three decades on, the libretto resonates even more sharply, communicating that we all still cherish “a family life” (whatever shape that family takes) in a community that we are proud of, because whatever happens “… we must save the child.”

Being from the north of England, I felt it was vital that this staging be embedded with the grit, authenticity, and humor of its birthplace. I visited Liverpool, just a few miles from my home, to listen to the music in its home setting. Sitting and listening to the piece through headphones in the open-air space of the bombed-out church of St. Luke’s (bombed in 1941), I was reminded quite viscerally of how voices of the past are ever-present in all our lives, whether as a direct result of war or as our worries and insecurities of a family crisis. The statue of two First World War soldiers, one British and one German, shaking hands outside the church, seemed to echo the oftused phrase that WWI was supposed to be “the war to end all wars.” The gravestones of the hundreds of child orphans lining the cemetery walls served as a heartfelt prompt to give voice to them and the voice - less orphans of today.

The oratorio’s impassioned beginning looks back to Liverpool in 1942, amidst the horror of the Second World War (which Paul McCartney was born into), where death is ever-present. But war is never resigned to history, and in 2024 the mother’s words “the world you’re coming into is no easy place to enter; every day is haunted by the echoes of the past”—are a stark reminder of our present global challenges. Musically, the piece plunges you directly into the heartbeat of birth and death. Dramatically, I have echoed this and tried to portray life’s journey and the hope for a better future. To enrich the narrative’s authenticity, each ensemble member has a backstory of a real person from Liverpool. I have also introduced dancers to represent the inner voices of Shanty and Mary and personify “hope,” which rises phoenix-like from the wreckage of the bombed city.

Through Shanty’s story, we see the post-war community rebuilding. We see societal shifts and nuances of male hierarchy, and we smile at the antics of the schoolboys and the awkwardness of being at a church dance with the grown-ups. We feel the shock and aloneness of a bereaved teenager and the stressful work-life balance of newlywed Baby Boomers of the 1960s. This gives way to the final peaceful understanding that it is in our own hands to change and “… be fair to each other.

Designer Leslie Travers and I have worked together to realize settings that allow for both the epic depiction of war and the intimate reflections of daily life. We found poignant inspiration from the Liverpool Blitz Memorial, depicting a mother holding a baby and a boy with a plane on the spiral staircase of an air-raid shelter. Our set sits alongside the River Mersey, where the ebb and flow metaphorically parallel life’s journey, and we can share its universality here alongside the Ohio River. Sir Paul’s school motto is heard throughout, reminding us of our desire for peace in our global family today: “Non nobis solum, Sed Toti mundo, nati. Toti mundo nat.” “Not for ourselves, but for the whole world, were we born.” Perhaps the Liverpool Oratorio is a timeless testament to the power of music to move hearts and minds and effect change.

Caroline Clegg is an international stage director, whose recent work includes Blaze of Glory for Welsh National Opera and next, Slave: A Question of Freedom for Feelgood Theatre. She lives in Manchester, UK, and rides a Triumph Bonneville.

By Trevore Ross

“Non mi scordate.” Translation: “Don’t forget me.” These words sung by Violetta in the final act of La Traviata offer insight into her greatest fear—that her lifestyle on the fringes of society was unacceptable, making her life insignificant and unworthy of being remembered. Have you ever felt something similar?

La Traviata has captivated audiences with its timeless themes of love, tragedy, and societal expectations. However, in many productions, including some I have been involved with, I often found a sense of unfulfillment and missed opportunities to delve into the deeper humanity of the characters. While these productions were musically brilliant and visually stunning, they often fell short in portraying the depth of character and the underlying tragedy that defines La Traviata.

Driven by a desire to present this beloved piece from a fresh perspective, I set out to create a production that would resonate with contemporary audiences while honoring the essence of the original. My goal was twofold: make the characters and setting more relatable and infuse the production with relevance to our current social environment.

To achieve this, I made several changes to La Traviata’s traditional staging. First, I transported the story from the 1840s to the 1920s, a period known as the “Roaring Twenties” in the U.S. and the “Années Folles” (or “Crazy Years”) in Paris, where our narrative unfolds. This era was characterized by a sense of freedom of expression, marked by cultural shifts like the rise of Art Deco, the emergence of jazz and cabaret culture, and the liberation of women’s fashion epitomized by Coco Chanel’s little black dress.

By shifting the timeframe, I aimed to create a setting that modern audiences could more readily connect with, shedding the layers of petticoats and formalities of the 19th century for a world of indulgence, self-identification, and artistic revolution. This not only made the environment more relatable but also allowed for a reinterpretation of the characters’ roles within society.

Central to my vision was the reversal of Violetta’s place among her peers. Instead of being viewed as an outcast of society, she is surrounded by a curated group of individuals, each in their own way marginalized or ostracized by societal norms. This ensemble of characters represents a microcosm of the larger societal struggles for recognition and acceptance.

The relevance of this reinterpretation to our current society cannot be overstated. We live in a time when divisions and polarizations are rampant and individuals and communities clamor to be seen, heard, and recognized. Yet, amidst this struggle, we often forget the fundamental principles of humanity: empathy, compassion, and the acknowledgment of each person’s intrinsic worth.

Violetta’s poignant plea of “Don’t forget me” in her final moments transcends the opera stage and speaks to the universal yearning for recognition and remembrance. It serves as a reminder that every individual, regardless of their background or beliefs, deserves to be treated with dignity and respect.

Through this production, I hope to provoke introspection and dialogue, encouraging audiences to reflect on their own roles in shaping a more inclusive and compassionate society. Art has the power to inspire change, and it is my fervent belief that by engaging with timeless works like La Traviata through a contemporary lens, we can all strive to be and do better in our interactions with one another.

Stage director Trevore Ross has called Cincinnati home for the past three years. Having spent time working across the US and Europe, this is his directing debut with Cincinnati Opera.

By Alison Moritz

Early in my career, I made a particular point to avoid directing the three masterpieces composed by Mozart in collaboration with his frequent librettist, Lorenzo da Ponte: The Marriage of Figaro, Don Giovanni, and Così fan tutte. It was easy to rationalize the decision: these operas are so exquisite that most productions can succeed without directorial intervention. A fantastic conductor and talented cast could bring them to vivid life all on their own. In reality, though, I was intimidated by the breadth and depth of the humanity represented in these operas. Mozart and Da Ponte weren’t afraid of using class and gender conflicts to evoke dramatic and heart-wrenching scenarios in their operas, and these themes have become even thornier to stage in the here and now.

How can modern audiences walk the delicate tightrope of enjoying the comedy and pathos in this magnificent work without feeling like we’re spending three hours glorifying a first-rate cad? Perhaps that’s exactly how some of you reading this are feeling—like opera is a thing to be held at arm’s length. After all, contemporary American society has moved so far away from many of the given circumstances of the operatic canon, including the infamous Don Giovanni. When I was invited to reconsider this masterpiece, I wanted to find a way to walk that tightrope, allowing us to delight in what’s immediate and recognizable about this world and its characters, but also to enjoy the romance of nostalgia and escaping into a time apart from our own.

I started to think of the character of Don Giovanni as a shapeshifter, a poser, tailoring his speech and manner to every listener but without a solid sense of self. Rather than being the focal point of the story, he became a catalyst for the stories of the six people around him—people of different classes and backgrounds, men and women, who are all affected by this single man who seems to breeze through life without feeling the consequences of his actions. Until he does.

Beyond the complexity of the title character, this opera offers an embarrassment of riches in terms of relatable themes and emotions worth mining. Just as in life, moments of great pain and great joy happen in quick succession. Grief and hurt have the capacity to bend time. People lie to each other, and to themselves. A climactic night feels unending, but then a new day finally dawns.

After more than a decade of deferral, I am extremely happy to be directing this audacious work for the first time with Dame Jane Glover on the podium. Designer Philip Witcomb and I have updated the action to a cosmopolitan version of early 20th-century Seville. Here we find a society parallel to Mozart’s own Age of Enlightenment, where the class structures of the past are beginning to show their cracks, and our characters are caught in a rapidly changing world order.

I’m so glad you’re here today to experience this great work live and made especially for Cincinnati audiences. Thank you for engaging with this challenging art and its ideas. I hope you enjoy it as much as I do.

Stage Director Alison Moritz is an accomplished artist and administrator. Alison was recently named artistic director of the Central City Opera.

As central as this process is to the alchemy of opera-making, it’s something those outside of the rehearsal room rarely get to see. Recently, a team of student filmmakers from the University of Cincinnati College-Conservatory of Music (CCM) Media Production Division set out to change that with their documentary, Robeson Rediscovered: The Making of an Opera. The film provides a behind-the-scenes look at the development of Robeson, a new opera inspired by the life of the legendary singer and activist Paul Robeson.

Robeson features music by Scott Davenport Richards, with a libretto co-written by Richards and David Cote, and dramaturgy and stage direction by Robin Guarino, CCM professor of opera—the creative team that previously collaborated on the powerful opera Blind Injustice, which explored true stories about the wrongfully imprisoned. Like Blind Injustice, Robeson underwent workshops through Opera Fusion: New Works, a partnership between CCM and Cincinnati Opera that ushers new operas through their next developmental phase.

Over several months between 2022 and 2023, the documentary crew, led by producer and instructor Melissa Godoy, was given up-close access by the creative team to their process of bringing Paul Robeson’s story to the stage. The filmmakers were able to capture the evolution of the opera through rehearsal and performance footage, artist interviews, and archival material from Robeson’s life.

Lauren Dull, a 2022 University of Cincinnati graduate who now lives and works in Los Angeles, was co-producer and editor on Robeson Rediscovered. Said Dull, “In order to tell this story, we had to sort through hundreds of pages, videos, and related material of Robeson. I learned so much about him during this process, and I hope our audience will find him as intriguing as I did.”

Tre Harris is a current CCM media production student and served as a camera operator on the project. He said, “Being on the camera crew for this documentary gave me a wildly new appreciation for operas in general. I had no idea how these types of productions came to life, and I am grateful to have experienced this intricate process alongside my wonderful crew! I think the documentary does a great job at capturing just how much time, patience and research goes into making an opera like this adjacent to the real-life story of Paul Robeson .”

Added Godoy, “This kind of hands-on work is uniquely available to CCM students. It is the valuable experience of working as a company on a professional project with an industry schedule and creative and technical challenges. The bonus is that our crew got to observe another group, Opera Fusion: New Works, tackle their own creative challenges. Both teams rose to the occasion. We all learned a lot.”

Learn more about CCM Media Production here.

Learn more about CCM Opera and Voice here.

Special thanks go to the CCM Harmony Fund for providing support for Robeson Rediscovered: The Making of an Opera.

Opera Fusion: New Works receives support from the Mellon Foundation.

In the realm of care for those living with memory loss, fostering connections and moments of joy is paramount. Enter Music in Motion, a unique collaboration between three Cincinnati-based organizations—the Giving Voice Foundation (GVF), Episcopal Retirement Services (ERS), and Cincinnati Opera. Music in Motion blends music, movement, and community to uplift spirits and enhance the well-being of individuals living with dementia and their caregivers.

Kristin Cooley, program director for the Giving Voice Foundation, shared the inception of Music in Motion: “One of our treasured Giving Voice Collaborative members had the pleasure of connecting with [Cincinnati Opera’s Harry T. Wilks Artistic Director] Evans Mirageas … at a community event. During their meeting, Evans shared the Opera's yearning to perform and connect beyond the mainstage. And our collaborative member shared the immense value music can have on individuals impacted by a progressive dementia. The rest is history!”

Each Music in Motion session begins with a singalong performance led by Cincinnati Opera artists featuring songs that are familiar to the participants and associated with positive memories. Classics like “Que Sera, Sera,” “On the Street Where You Live,” and other melodies fill the room with a warm sense of nostalgia.

Following the musical experience, participants engage in a gentle chair yoga session led by instructor Stacy Shirley. This soothing practice not only promotes physical well-being but also encourages relaxation and mindfulness, creating a serene atmosphere for reflection and connection.

Shannon Braun, director of ERS’s Center for Memory Support and Inclusion, emphasizes the advantages of the program's unique approach: “We recognize the benefit of socialization as it relates to brain health and the unmistakable power of music. Many people experience isolation when they have dementia or care for someone who does. Creating community is a vital part of the journey, and programs like these are a true lifeline to those going through it. We see participants greet each other, laugh and hug, sing along to familiar songs, and really feel safe with one another. It is such a respite from their confusion and really empowers them to be themselves.”

Choral director Danielle Cozart Steele, who helped lead the winter 2023 session of Music in Motion, said that the program resonates personally: “Having lost my own father to Alzheimer’s in 2022 during the pandemic meant that I missed much of the end of his life. Being able to pour my love and care into the people living with dementia who are part of Music in Motion heals a part of my soul. This work is my grand love song to my dad, who taught me all about altruism and service, to love people, and to make meaning by sharing music. These programs are invaluable—not just for people with Alzheimer’s and dementia but for their caregivers and community. I’m so grateful to be a part of this meaningful work.”

Participants have also enthusiastically endorsed the program’s impact. One caregiver expressed their gratitude, stating, “It’s so wonderful for my mom to have these events to look forward to! [I] also appreciate that the songs are ones my mom recognizes. Having something she remembers fondly from her past is very positively stimulating for her!” Another participant commended the therapeutic intersection of music and movement: “... [W]e all were able to relax. Fill our lungs, be silly, and leave refreshed.”

In a world where the needs of older adults often go overlooked, Music in Motion serves as a beacon of compassion and creativity—a testament to the transformative power of music in fostering connection and enhancing quality of life.

Said Cooley, “[Music in Motion] is the epitome of true, genuine collaboration. We are all united in our goal to make a positive impact for our older adult community in the Tristate region (and beyond!).”

Echoed Braun, “Our community is better for partnerships like the one between ERS, GVF, and the Opera. It is so heartening to meet others who share the same values and mission. We all care about creating safe and welcoming spaces, and spreading a bit of joy.” 

Music in Motion receives support from Episcopal Retirement Services.

Cincinnati Opera Community Engagement and Education receives support from the H.B., E.W., and F.R. Luther Charitable Foundation and the Charles H. Dater Foundation.

COYP Bacchanal • January 26, 2024

Photo: Paige Pederzani Photography

Photo: Paige Pederzani Photography

Photo: Paige Pederzani Photography

Photo: Paige Pederzani Photography

Photo: Paige Pederzani Photography

Photo: Paige Pederzani Photography

Photo: Paige Pederzani Photography

Photo: Paige Pederzani Photography

Photo: Paige Pederzani Photography

Photo: Paige Pederzani Photography

Photo: Paige Pederzani Photography

Photo: Paige Pederzani Photography

Formerly known as “Center Stage,” the group’s recent rebrand to Cincinnati Opera Young Professionals was intended to signal a renewed focus on inclusivity and camaraderie. And in January, COYP hosted its official coming-out party—its first annual signature fundraiser, the COYP Bacchanal. According to Nicolette Rader, Cincinnati Opera’s Director of Corporate and Event Fundraising, the event marked a turning point for COYP, relaunching it as a welcoming hub for budding opera enthusiasts.

Leaning into opera’s “more is more” ethos, the Bacchanal’s entertainment was decidedly over-the-top, including buzzy DJ-spun dance tunes and opera, burlesque, and drag performances. The room was brought to life through dazzling projection mapping by design students from the University of Cincinnati’s DAAP program under the leadership of Professor Sean Hafer. Guests were encouraged to dress in “Greco-Roman disco glam,” and the crowd fully understood the assignment. In the end, the COYP Bacchanal was so much more than a party; it was an invitation for the opera-curious to dive into an opera-centric experience that defied expectations.

According to Rader, this is just the beginning. The coming months hold an array of experiences designed to provide a welcoming glimpse into opera—from Singers & Spirits, where opera meets mixology at local wine bars and breweries, to Divas & Diamonds, a night of glimmering gems and gorgeous music at Richter & Phillips Jewelers.

Curious to learn more? Connect with COYP on Instagram to stay up-to-date on upcoming events.

Special thanks to these COYP Bacchanal Sponsors:

And these Event Partners:

DELIGHTMORE | PAIGE PEDERZANI PHOTOGRAPHY | REVEL OTR URBAN WINERY

In a society that craves innovation, opera can sometimes seem like an anomaly. Popular sentiment has often deemed opera to be a throwback—an art form with rich history and traditions, but perhaps one that’s stuck in the past.

In fact, the evidence points to the opposite. A quick survey of opera houses across the country proves that new opera is springing up everywhere and that audiences’ appetite for new works is steadily growing.

Some credit for this shift can likely go to the success of Opera Fusion: New Works (or OF:NW, for short). Launched in 2011 with funding from the Mellon Foundation, OF:NW is a one-of-its-kind creative partnership between Cincinnati Opera and the University of Cincinnati College-Conservatory of Music (CCM) that serves as an incubator for new American opera.

Through the program, composers and librettists are invited to a 10-day workshop in Cincinnati to take their operas-in-progress to the next stage. They’re able to tap into the combined resources of Cincinnati Opera and CCM—namely, performing artists, stage personnel, and administrative and creative support—to work out the kinks and refine their pieces in preparation for a fully-staged production.

OF:NW’s successful track record serves as a key indicator of its value. The last two performance seasons alone included full productions of the following operas that were originally workshopped by OF:NW:

• Terence Blanchard’s Champion and Kevin Puts’s The Hours at the Metropolitan Opera

• Ricky Ian Gordon and Lynn Nottage’s Intimate Apparel at Lincoln Center Theater

• Tobias Picker and Aryeh Lev Stollman’s Awakenings at Opera Theatre of Saint Louis

• Castor and Patience by Gregory Spears and Tracy K. Smith, which premiered at Cincinnati Opera in summer 2022 and was dubbed a New York Times “Critic’s Pick”

What’s more, Spears and Smith’s most recent work, The Righteous, received an OF:NW workshop in May 2023 and is slated for its 2024 world premiere at Santa Fe Opera. This year has also included a workshop for Missy Mazzoli and Royce Vavrek’s new opera based on George Saunders’s acclaimed novel Lincoln in the Bardo, commissioned by the Met. And two more workshops are imminent: Two Corners by B.E. Boykin and Jarrod Lee (December 2023), and Bulrusher by Nathaniel Stookey and Eisa Davis (January 2024).

Looking ahead, OF:NW will host a workshop for Cincinnati Opera’s next, yet-to-be-announced world premiere opera, which will be part of the company’s 2025 Summer Festival.

Keep your eyes on this special program—it’s arguably where some of our nation’s most exciting new opera is born.

For more information, visit ofnw.org.

Adapted and updated from Cincinnati Opera’s 2023 program book

From Evans:

1: Mozart: “Nehmt meinem Dank” K. 383

Mozart wrote for his friends, and this little aria is a song of thanks from a soprano (Aloysia Weber) to her faithful public. Ms. Weber sang Donna Anna in Mozart’s first production of Don Giovanni.

2: Attrib. Handel/Ochs: “Dank sei dir Herr”

Although attributed to George Frideric Handel, this simple song of thanksgiving was most likely written by the 19th-century German composer Siegfried Ochs. No matter; it praises the deity for protecting all mankind in times of adversity.

3: Bock/Harnick: “Sabbath Prayer” from Fiddler on the Roof

There are many meals portrayed in opera and musical theater. We’ll have two on stage this summer. The guests at Violetta’s party in Act One of La Traviata have supper while Violetta falls in love with Alfredo before our eyes. Also, Don Giovanni ends with a disastrous banquet with the host being dragged to hell! But my personal favorite meal is the Sabbath supper portrayed in Fiddler on the Roof.

4: Schubert: “An die Musik”

This is a song of thanks not to food or to a holiday but to music itself. Simple in the extreme, these verses set by Franz Schubert say everything we love about music and its powers.

You lovely art, in how many gray hours,
Where I was stricken by life
You ignited my heart with love,
You brought me to a better world,
Brought me to a better world!
Often a sigh, that left your harp,
A sweet, holy chord from you,
Has shown me the existence of a better time
You lovely art, I thank you for it,
You lovely art, I thank you!

5: Copland: “The Promise of Living” from The Tender Land

Last but not least is the finale to Act One of Aaron Copland’s only full-length opera. It’s as American as apple pie and as universal as the sentiment of giving thanks for those simple gifts to which we all aspire.

Every summer, Cincinnati Opera welcomes a new group of interns who bring fresh curiosity and energy to Music Hall, and our 2023 Summer Festival has been no exception. As our interns conclude their summers with us, they took the time to share their personal journeys with opera, their aspirations for the future, and what they’ve enjoyed most about the 2023 season. 

Meg Booker was browsing through our community events information and couldn't resist applying when she stumbled upon the internship opportunity on our website.  During her internship, Meg has learned about the world of opera and how much dedication everyone has to this art form. She is a vocal performance major with a minor in entrepreneurial studies at Northern Kentucky University, and in her free time, aside from singing, she loves crafting and doing calligraphy.  

Said Meg, “I have learned that kindness is the best gift you can give someone, and that all the staff really likes food (lol)! I have learned many practical office skills, and I have made so many wonderful connections.  I absolutely loved working here at Cincinnati Opera for the summer.” 

Gillian "Gigi" Kokai is a Robert Morris University student juggling an accelerated MBA program and an undergrad degree in management.  At Cincinnati Opera, she learned about the marketing side of the art form and was able to see what goes on behind the scenes of our Summer Festival. Gigi loves musical theater. Fun fact: she picked up a bass drum two months before her senior year and marched on the field in the drumline that year. In the future, Gigi hopes to one day open her own theater and bring the community together.  

Said Gigi, “I wish I could sum up everything amazing about this internship, but I can’t. So, I will simply say that Cincinnati Opera believes in their work and their employees, so my experience was, of course, wonderful and uplifting. I have learned how to keep trying and keep pushing forward”  

Grace Mattina is a Miami University student studying arts management and entrepreneurship, where she combines creative thinking with business practices. At Cincinnati Opera, she learned about the philanthropy team's job and its role in making each season possible. Grace has learned about fundraising events, grants, and donors. When she's not busy, you can find her drawing, painting, or creating unique jewelry pieces.  

“I had a wonderful first internship experience at the Cincinnati Opera!” said Grace. “This company is full of very respectable individuals who do an outstanding job, making it such a fantastic company! Everyone’s willingness to help me with my career goals has really made this internship special. I will miss the staff and other fellow interns dearly!”  

Ian Wisecup is a second-year Bowling Green State University student. He's pursuing two music performance degrees, one focusing on voice and the other on vocal pedagogy. This summer, Ian has gained more knowledge about how to encourage people to engage in opera as an art form, how an opera company operates, how to make connections and form relationships. As for the future, Ian hopes to perform in the opera after undergrad and grad school. In his free time, he arranges and composes music. He also sings opera, hitting notes as low as G1 or Ab1! 

Said Ian, “My experience working at Cincinnati Opera has been amazing; the connections made and the experiences I have had working with the community and exposing people to opera who otherwise wouldn’t have the opportunity, have been by far the most amazing experiences I have had.”

Jeysla Rosario Santos is a student at Miami University studying vocal performance and arts management and entrepreneurship. She has a burning passion for singing, loves La Bohème, and has never taken a bite of an apple (literally!). In the future, Jeysla wants to continue performing, but also have a consulting firm where she can provide resources to young artists and start-up arts businesses.

“My experience working at Cincinnati Opera was absolutely amazing!” said Jeysla.“The individuals that I interacted with on a daily basis had plenty of knowledge to share, so I learned something new every single day. I learned a variety of different skills that I never would’ve discovered I needed until later on in my career. I’ve learned too that being thankful does take one very far. Also, my team was really the best I could’ve asked for, and I feel fortunate to have been able to work with these individuals!”

Sol de Maria Rodriguez (Nina) is an MA/MBA student in the University of Cincinnati’s arts administration program. In her free time, Nina loves writing songs, singing, and learning how to cook. In the future, Nina wants to get more involved in the music industry world as an administrator and a performer, while helping other artists improve their careers.   

Said Nina, “This summer with Cincinnati Opera has been amazing. I have met wonderful people, seen incredible performances, and learned a lot about press, social media, and communications. I am really grateful for the opportunity to have been here working and creating long-lasting connections with people that are so kind and talented!” 

All our interns, with diverse backgrounds and interests, have brought their passion, energy, and knowledge to Cincinnati Opera, and for that, we are immensely grateful. We wish for each of them an amazing professional career in the arts and beyond!

As Cincinnati Opera presents its highly anticipated production of Madame Butterfly, audiences will be treated to an extraordinary blend of art and technology. Alongside the captivating performances on stage, a beautiful sculpture with an augmented reality (AR) feature will grace the lobby of Music Hall, offering an immersive experience to all who interact with it. The artist behind it is John Tshuchiya, who collaborated with his brother, the sculptor Tom Tsuchiya, to develop this exciting fusion of virtuality and reality. 

About John Tsuchiya 

Hailing from Cincinnati, John Tsuchiya is an architectural designer who has lent his expertise to Elevar Design Group, one of the city's premier architectural firms. With a passion for art and technology, John developed the AR installation that will grace Music Hall from July 22 to 29. 

The Sculpture 

Within the lobby of Music Hall, patrons will encounter an exquisite piece of sculptural artwork crafted by Tom Tsuchiya. Drawing inspiration from the Japanese pictorial maxim "The three wise monkeys," the sculpture embodies the proverbial principle of "see no evil, hear no evil, speak no evil." In Tom's rendition, the monkeys are intertwined, each labeled as "reduce," "reuse," and "recycle," symbolizing the significance of responsible resource utilization. The sculpture offers visitors a space to recycle their unwanted CDs and DVDs, and collected items will subsequently be distributed to local organizations, ensuring their proper reuse or recycling. 

Augmented Reality Integration 

Inspired by Cincinnati Opera’s new production of Madame Butterfly, which blends virtual and real-life elements, the Tsuchiyas decided to incorporate augmented reality into the sculpture. Using a QR code displayed on the sculpture's base, audiences will gain access to the AR experience. 

Once they scan the code with their smartphones, audience members will be directed to a website where they can access the AR design by focusing their cameras on the designated markers positioned at each corner of the sculpture's base. This alignment ensures that the digital image appears precisely where the sculpture stands, allowing viewers to witness the sculpture's intricate details and vibrant colors through their mobile devices. The colors, featuring shades of blue, green, and orange, draw inspiration from the Japanese Ministry of Economy, Trade, and Industry, which actively promotes recycling practices within Japan. 

The Inspiration and Process 

Augmented reality has become increasingly common in the architectural industry, revolutionizing the design and construction process. Architects can now visualize finished structures within their intended environment with the help of technology. This is what inspired John Tsuchiya. 

John has dedicated approximately one month to bringing this AR experience to life. Leveraging his brother's 3D scan of the initial sculpture, the team harnessed this data to create the AR function.  

John expressed his excitement about the immersive experience that awaits Cincinnati Opera's audiences. Likewise, the Tsuchiyas’ creativity gives Cincinnati Opera a unique and valuable opportunity to connect with audiences in new and unexpected ways.

When I got to see The Barber of Seville for the very first time, so many things caught my attention and made me smile! The composer, Gioachino Rossini, had written such brilliant music, and I was captivated by the hilarious dynamics between the characters, the very silly story (which I clearly understood thanks to subtitles), and the fact that I was enjoying something that had been written more than 200 years ago. 

But you know what? I also thought about how sometimes, old operas can feel a little distant and hard to relate to, especially for younger audiences. I mean, what does the story of an 18th-century barber from Spain have to do with people living in the 21st century?  

And then, this awesome part of the opera really stuck with me.   

It's when Rosina, one of the main characters, sings a beautiful aria called "Una Voce Poco Fa" ("A voice a little while ago"). Rosina is a girl who has always been polite, obedient, and kind. But in this song, she shows her true strength and says:  

“I’m docile, respectful, obedient, and loving. But if you cross me, I become a viper! I’ll lay a hundred traps before I give in!” 

At this moment in the opera, Rosina has read a letter from her crush, Lindoro (who is really Count Almaviva, although she doesn’t know that yet!), and filled with joy, she sings about how she wants to be with him, despite the interference of her old guardian, Dr. Bartolo, who wants to marry her as soon as possible for her money.   

Dr. Bartolo uses every trick in the book to control Rosina, but she’s determined not to let him win. She fights for her own happiness and the ability to craft her future.  

Rosina is brave, clever, and determined. She thinks quickly and cleverly devises plans to outwit Dr. Bartolo. Her bravery, wit, and strength help her persevere.  

Rosina also teaches us that other people’s expectations do not define us. We can have our own voice and make our own choices. Even if sometimes we can feel pressure to fit into certain roles, we can learn how to be ourselves and stand up for what we believe in, being strong and speaking up when something isn’t right. 

In the vast world of opera, it is refreshing to experience The Barber of Seville, a well-known, lighthearted piece that will leave you feeling happy and positive about life. It is also amazing to have it center around a character like Rosina, someone who is not merely a reflection of what those around her expect, but her own complete and beautifully complicated self.   

It occurred to me that, in the real world, there are many Rosinas. They are people who are strong, smart, and brave. They speak up for themselves and don't let anyone hold them back. So, let's bring a large round of applause for all the Rosinas out there! Keep being clever, fun, and determined. Forge your own path, and fight for what you love. Your voice is special, and we need to hear it! 

* Reprinted from the 30th Annual Community Dress Rehearsal Program. July 3, 2023.

Photos: Philip Groshong

The Community Open Dress Rehearsal (CODR) is an amazing opportunity for Cincinnati Opera to share the art of music with the community, but it is also a spectacular opportunity to showcase the gifts and talents of our valued community partners. I had the pleasure of speaking with Margarita Whitson, a licensed cosmetologist of Franciscan Ministries’ Haircuts from the Heart program, and one of the amazing volunteer barbers cutting hair at this year’s CODR. Join me as we learn more about Margarita, including how she came to work for Franciscan Ministries and how her experience as a cosmetologist has impacted her art and sense of community.

Margarita Whitson is a New Jersey native who has been living in Cincinnati for over five years. She has been a licensed cosmetologist for over twenty-three years. When asked what brought her to the field of cosmetology, she stated, “One thing that brought me to the field of cosmetology was the ability to be able to create and see my finished product. Cosmetology was a way for me to meet new people and establish great relationships! At the age of 20, I opened up my very first hair salon in Atlantic City, NJ, which allowed me to do hair for people of all backgrounds and ethnicities.” It goes to show that art and community go hand-in-hand!

Wanting to know more about Franciscan Ministries and the work they do, Whitson shared more information about the programs they offer for those who are suffering with addiction and living in poverty. “We are committed to serving our community and meeting people’s needs to the best of our ability,” she explains. Franciscan Ministries offers four programs which include The Community Garden, Tamar’s Center, Tau House, and Haircuts from the Heart, where Whitson is employed as a mobile stylist, providing free haircuts to people who don’t have access to a salon or cannot afford haircuts.

On her experience, Whitson states, “Franciscan Ministries has given me the opportunity to be more involved in the community by going to different social service organizations and provide a service that will allow someone to feel great about themselves. One thing that led me to work at Franciscan Ministries was the ability to do something I loved and, at the same time, be able to help my community. I didn’t want to work in a traditional salon setting. Being mobile allows me to see more of the great resourses that Cincinnati has to offer its growing community.” Whitson also reiterates the importance and love she has for community, describing it as “an extended family.”

Cincinnati Opera is very excited to have youth back in Music Hall for the 30th Annual Community Open Dress Rehearsal, and we truly appreciate our partnership with Margarita and Franciscan Haircuts from the Heart for this very special community event. At the end of our conversation, Margarita shared some words of wisdom:

“The advice that I would give children who are thinking of becoming a barber or stylist is, make sure you love it! The field of cosmetology is not just about cutting hair. Cosmetology is perfecting your craft, loving all people, and preparing to constantly learn about the ever-evolving business. Cosmetology is not just a trade, it is an art form!”

Thank you for sharing a bit about your craft, and the artistry in what you do for the community.

We hope you enjoy your haircut!

* Reprinted from the 30th Annual Community Open Dress Rehearsal Program. July 3, 2023.

Cincinnati Opera Community Engagement and Education receives support from the H.B., E.W., and F.R. Luther Charitable Foundation and the Charles H. Dater Foundation.

Cincinnati Opera has made a longstanding commitment to accessibility, celebrating diversity, and creating spaces where audiences of all kinds can feel comfortable, included, and welcomed.   

In 2022, Cincinnati Opera collaborated with Cincinnati Children's Hospital to present a sensory-friendly rehearsal of the opera The Pirates of Penzance. The Opera partnered closely with Cincinnati Children’s physician Dr. Jennifer Smith, Director of the Leadership Education in Neurodevelopmental and Related Disabilities (LEND) program, who assisted with developing the event concept by providing valuable insights into the unique needs of individuals with sensory challenges. 

The event was a success, attracting close to 250 participants and offering families the opportunity to enjoy the live opera experience in a relaxed and comfortable environment. Cincinnati Opera and Music Hall staff received advanced training on providing appropriate assistance to patrons, and quiet rooms* with resources like coloring pages, widgets, snacks, and water were provided. Additionally, Cincinnati Opera made noise-canceling headphones and padded seat cushions available for those who needed them. Accessible signs were placed to guide attendees throughout the building, and Cincinnati Opera’s production team ensured that the audience was made aware of any elements of the performance that could be overwhelming, such as loud noises or bright lights, and worked to mitigate them wherever possible. 

This year, Cincinnati Opera is building on this effort by hosting two special events: a sensory-friendly rehearsal of The Barber of Seville and an accessible performance of Madame Butterfly. 

For the Barber rehearsal, in addition to the previously established protocols, Dr. Smith has again collaborated with Cincinnati Opera to identify any elements in the production that may require warnings or modifications to ensure a completely sensory-friendly experience for the audience. The company anticipates approximately 300 guests to visit Music Hall for this event. 

See here for more details about The Barber of Seville's sensory-friendly rehearsal. 

On July 29, Cincinnati Opera will host Access Night in conjunction with its closing performance of Madame Butterfly, when special resources will be made available to audience members who may be visually and/or hearing impaired. Developed in partnership with the Cincinnati Association for the Blind and Visually Impaired (CABVI) and Cincinnati Children's, the event will offer patrons access to large-print programs, braille programs, audio descriptions, and assistive listening systems.

See here for more details about Access Night. 

In addition to these initiatives, Cincinnati Opera recently enhanced its website to offer greater accessibility to a wide variety of users, including text magnification, audio description, and translation into multiple languages, among tools.  

Do you have suggestions for ways Cincinnati Opera can be more accessible? Please share your thoughts with us at info@cincinnatiopera.org. 

* A quiet room is a special place where children can go if they feel overwhelmed. It's a calm space where families can relax, take a break, or step away from other activities. 

Support for the Sensory-Friendly Rehearsal is provided by The William Plott Sensory Fund and the Charles H. Dater Foundation. Macy’s is proud to partner with Cincinnati Children’s Starting Our Adventure Right (SOAR) program to make these events accessible to more children and families. SOAR is made possible by Macy’s support.

The stories of military families –in particular, the wives of service members –have remained largely unexplored territory on the opera stage. That is why Cincinnati Opera’s 2023 production of the moving new work, The Knock, holds such significance—it sheds new and important light on the sacrifices made by the families of those who serve. 

In a show of compassion and collaboration, DAV (Disabled American Veterans), a Cincinnati-based nonprofit organization serving America’s veterans, has offered significant support for Cincinnati Opera’s production of The Knock. As we celebrate this partnership, we’re honored to highlight the profound work carried out by DAV. 

A service organization with more than one million members, DAV has dedicated itself to empowering veterans for more than 103 years, helping them to lead high-quality lives with respect and dignity. 

They offer free services to veterans and their families, ensuring they can access the full range of benefits available to them. They also fight for the interests of America’s injured heroes on Capitol Hill, provide employment resources to veterans and their families, and educate the public about the great sacrifices and needs of veterans transitioning back to civilian life. 

Over the years, DAV has: 

• Provided more than 19 million rides to medical appointments  

• Helped submit more than 12 million claims for benefits  

• Assisted with more than 168,000 job offers for veterans   

“I continuously reflect on my brothers and sisters who never made it home,” said Al Silva, DAV member and former infantryman. “One of the reasons that I joined DAV was to maintain a connection with others who served. I also found the VA benefits claims process difficult to navigate. I needed DAV’s help.” 

DAV has deep historical ties to Cincinnati. DAV’s founder, Judge Robert Marx, was a Cincinnatian and World War I veteran wounded in the final battle. Upon his return, he became a judge in the city and felt deep compassion for fellow veterans who received little help from the government. It was in Cincinnati's Memorial Hall that DAV held its first national meeting in 1920. Judge Marx was also a passionate patron of the arts. In fact, Cincinnati’s Playhouse in the Park, until its remodel last year, was the “Robert Marx Theatre” as a result of a donation in his honor when it was constructed. In addition, the law library at the University of Cincinnati and the athletics complex at Walnut Hills High School bear his name.  

As part of the partnership between Cincinnati Opera and DAV, Cincinnati Opera will host local veterans and DAV guests at a special rehearsal of The Knock to provide them with an exclusive preview in advance of the opera’s world stage premiere. Further, DAV ambassadors will participate in post-performance talkbacks with The Knock audiences to share their unique perspectives on military life. 

This inspiring collaboration serves as a testament to the power of music and the profound impact that organizations can have when they come together for a common cause. It grants DAV the opportunity to be part of a meaningful production that shares stories influenced by real-life events. Simultaneously, it allows Cincinnati Opera the opportunity to work with a respected service organization that has improved the lives of thousands of veterans, whose stories The Knock seeks to represent. 

 For more information about DAV and their initiatives, please visit dav.org or follow DAV on social media. 

On Friday, June 2, Cincinnati Opera returned to Summit Park in Blue Ash, marking its first event there since the company’s all-outdoor, 2021 “Summer at Summit” season. 

The evening kicked off at 7:30 p.m., when people of all ages gathered around the Share the Love Truck under Summit Park’s multicolored Glass Canopy to listen to performances by Cincinnati Opera artists Victoria Ellington, Christina Kerstan, De’Ron McDaniel, Travis Pearce, and pianist Eunwha Lee. While the audience enjoyed ice cream and refreshments from the park’s nearby vendors under the setting sun, they were treated to musical repertoire spanning The Barber of Seville to Disney to Motown.   

Following the Share the Love Truck performance, attendees made their way to the Great Lawn to watch a film screening of Cincinnati Opera’s 2022 world premiere opera, Fierce, by William Menefield and Sheila Williams. More than 350 people gathered on picnic blankets and lawn chairs and became immersed in the inspiring story of four teenage girls—their trials, their triumphs, and the power of friendship.

After the film, more than 100 drones from Flightline by Arthur Rozzi Pyrotechnics lit up the sky with opera-inspired imagery, including references to each of the company’s 2023 Summer Festival productions. A gasp could be heard from the crowd when the drones formed a waving U.S. flag—a nod to the company’s world stage premiere of The Knock, an opera about the lives of military wives. Also pictured were a stag’s head and sword (inspired by Lucia di Lammermoor), a mustache being snipped by scissors (The Barber of Seville), a stunning butterfly mid-flight (Madame Butterfly), and the distinctive Cincinnati Opera logo within an outline of Music Hall. 

Finally, three words illuminated the sky: OPERA … IS ... BACK. The audience erupted into applause—a fitting welcome to Cincinnati Opera’s 2023 Summer Festival. 

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Screen & Sky: Opera Returns to Summit was sponsored by Western & Southern Financial Group

Lorena Mora-Mowry from Mujer Latina Today conducted an interview with Argentinean tenor Santiago Ballerini, who is currently in Cincinnati, Ohio, as a guest of the Cincinnati Opera for their 2023 Summer Festival. Santiago will be portraying Edgardo in Gaetano Donizetti's tragic opera Lucia di Lammermoor. Cincinnati Opera's Lucia di Lammermoor will take place on June 22 and 24, 2023, at 7:30 p.m. 

During this Spanish-language interview, Santiago discusses his personal journey and his role as Edgardo. Here are some highlights from the conversation.

Santiago's Background 

Born in Argentina, Santiago never envisioned himself as an opera singer during his childhood. However, on Sundays, he recalls receiving a weekly paper that came with a vinyl record. These records contained music by renowned composers such as Bach, Mozart, and Beethoven, among others. Despite his parents' lack of interest in classical music, they stored these records on a shelf. Santiago shares how, at the age of six, he played these vinyl records on a record player and spent hours listening to them. 

When he was ten, Santiago began singing at church and was eventually invited to conduct the children's choir. His participation in the choir made him realize his passion for music. Subsequently, he spent nine years playing the piano. 

Since his parents didn't consider music a viable career option (a common belief in Latin America), they encouraged him to pursue a college education that would provide economic stability. As a result, Santiago attended the University of Buenos Aires, where he studied Music Therapy and earned a master's degree in Addiction. He then worked at a hospital, aiding a group of individuals struggling with addiction. 

During his time at the hospital, Santiago started studying singing to enhance his vocal abilities and support the therapy group he led. Seeking guidance, he sought lessons from Ricardo Yost, a renowned Argentinean baritone from Teatro Colón in Buenos Aires. Yost recognized Santiago's exceptional talent and encouraged him to enroll at the art institute of Teatro Colón. Out of 250 applicants that year, at 26 years old, Santiago was one of the six recipients of a scholarship to attend the school. He had to start from scratch and learn everything about opera. 

Arriving in the U.S. and Meeting Sherrill Milnes

Santiago continued his studies at the Teatro Colon Arts Institute, where he also received roles. However, he didn't complete his singing studies there as he won a contest sponsored by Argentinean patron Alejandro Cordero. This victory led him to travel to New York City to perform in concerts, where he had an audition that earned him a scholarship to study with the famous baritone Sherrill Milnes around 2013. 

Santiago was invited to Milnes' house, where he had the opportunity to study and learn from him. When he first arrived in the US, Santiago had limited English proficiency, so he primarily communicated with Sherrill in Italian. Subsequently, Tomer Zvulun from Atlanta Opera offered him his next opportunity, and he has been working nonstop since then. 

Cincinnati Opera and his Role in Lucia di Lammermoor 

Santiago expresses his excitement to be a part of Cincinnati Opera. He had heard much about this second-oldest opera company in America and had it on his bucket list. After auditioning for Cincinnati Opera, he finally felt comfortable accepting the role of Edgardo, which he had been offered five times previously by other companies. Santiago is thrilled to undertake such a challenging, demanding, and psychologically complex role in Lucia di Lammermoor. 

He finds Cincinnati Opera to be more extraordinary than he ever imagined, with the magnificent Music Hall and a vibrant artistic atmosphere throughout the city. Santiago believes Cincinnati revolves around art. He is delighted to participate in Cincinnati Opera's 2023 Summer Festival and hopes to return in the future. 

Santiago extends an invitation to the audience to witness his performance in Lucia di Lammermoor on June 22 and 24, 2023. 

Life and Music 

Santiago regards music as a safe space and expresses gratitude for his career every morning. He firmly believes that opportunities and dreams are crafted through hard work and dedication. He acknowledges that not everyone has the same possibilities due to global inequalities. 

Santiago continuously hones his technique and delves into the psychological aspects of the characters he portrays. He considers himself a romantic, deeply devoted to his friends, family, and profession. Despite opera being a solitary path that often entails spending a significant amount of time alone, Santiago is fueled by his passion for the art form. 

You can listen to the full interview in Spanish here: 

Operas. So many OPERAS, and all so different. Have you ever wondered which one suits you better, which one is for you, which one IS you?

We’re here to help. Why read the synopsis when you can do a random online quiz, right? Take this quiz and find the answer to the question you just asked yourself 10 minutes ago: Which opera of Cincinnati Opera’s 2023 season ARE you? 

Let’s go! 

Summer is almost officially here, and with it comes Cincinnati Opera’s highly anticipated 2023 Summer Festival.  

This season, we’re thrilled to bring you performances that will truly touch your soul. Our incredible artists are starting to arrive, sets, costumes, and props are being assembled, and the buzz in the air confirms that OPERA IS BACK. We hope you're just as pumped as we are to dive into this incredible experience. 

As you prepare for your opera-going this summer, you may wonder, "What should I wear?" Don't panic! We have you covered with a complete style guide to help you make a statement, inspired by the operas of our 2023 Summer Festival. 

Embodying Opera Madness: The Lucia Look 

Channel your inner passion with a red ensemble that captures the madness of love in Lucia di Lammermoor.

Just like the red on Lucia's wedding dress, this bold color will conjure the unbridled emotion of Donizetti’s opera.

Dare to go vibrant with your clothes, makeup, and hair as you immerse yourself in the romantic intensity of this opera and its famous sextet at Music Hall. 

Come As You Are: Inspiration from The Knock  

Our moving new opera, The Knock, chronicles the lives of U.S. military wives on the home front. It’s a come-as-you-are evening--all you really need to bring is you.

Wear an outfit that better represents yourself in your everyday life, whether that is a denim set or a stunning long dress, and create a comforting experience for yourself. 

Unleash Your Inner Versatility: The Barber Ensemble

Embrace the joy and playfulness of Rossini's The Barber of Seville by creating an irreverent outfit.

Want to pair socks with Crocs? Go for it! Feel like donning a helmet adorned with glistening crystals? Absolutely!

We'd love to see how you embrace your creativity and showcase the fun-loving spirit of The Barber of Seville. 

Unexpected Elegance: The Madame Butterfly Effect 

Indulge in elegance by combining classic elements with bold and surprising touches, reflecting our new production of Madame Butterfly inspired by anime, manga, and gaming.

You can pair a classic black tuxedo with a vibrant bow tie and harmonize it with a striking lilac color palette. Or make a statement with a refined dress accentuated by a neon jacket.

Let your imagination run wild as you elevate your style to match the colorful passion of Madame Butterfly.

BONUS

Enjoying Arias Alfresco: Opera in the Park’s Comfy Chic 

For our annual season kickoff concert, Opera in the Park, comfort is key. This evening of opera and musical theater pairs perfectly with a flowy dress or wide-leg pants, and a wide-brimmed hat to keep the setting sun at bay. Remember always to wear sunscreen and bring your sunglasses! 

A jump back in time: Studio Series Vintage 

Evoke the spirit of the intimate, candlelit performances of our new performance series, Studio Sessions, by creating an outfit that takes you back in time. Consider a stunning flapper-style dress complemented with long satin gloves and elegant T-strap heels for an ensemble that captures the essence of the era. Or opt for a tailored three-piece suit in a classic color with a white shirt, colorful bowtie, or a vintage-inspired necktie. Be creative and versatile, just like the musical program itself. 

Whatever look you choose, remember that the most important thing is for your personality to shine through and for you to dress however you feel at your best. Whether you opt for glamorous gowns, quirky costumes, or casual outfits, you are warmly welcomed to revel in the magic of our 2023 Summer Festival. We can’t wait to see you at Music Hall! 

In 2010, I was commissioned to write The Comfort Team, a play about military spouses for the Virginia Stage Company in Norfolk, Virginia. At the time, the United States had been at war in Iraq and Afghanistan for nearly 10 years and the Norfolk community—home to the world’s largest military installation—was filled with wives who were holding down the home front. Over a three-year period, I immersed myself in military life and conducted interviews with 43 spouses of all ages from every rank, culture, race, economic class, geographical region, and branch of the armed services.

Military culture, I quickly discovered, has a dizzying set of protocols and customs that are strictly observed. These protocols form the substance of military life and govern its rituals. It was important to honor them while writing The Knock; they form the structure for the libretto and score, and composer Aleksandra Vrebalov and I made every effort to ensure they were represented as accurately as possible. The military is also a culture where gender roles fall along traditional lines, and we tried to represent that too. Wives are required to put the needs of the servicemen first and are expected to volunteer in activities to assist in the smooth functioning of the military effort. One of those is the Spouse Club, which is how the Command Office communicates with wives during deployments. The gathering of wives in The Knock is a meeting of the Spouse Club.

During my time in Norfolk, I heard many stories about “the knock.” They were told to me in places like McDonald’s or Starbucks—everyday locations where we go about our everyday lives. As I sat listening to these stories, while watching other families eat lunch or drink coffee, unaware of the nightmare taking place at my table, I was struck by the disconnect, and how emblematic it was for our country, where most of us go through our lives unaware of the burdens being carried by the military families in our orphan. It was this disconnect that I tried to capture in the libretto when our young Army officer, who is given a gut-wrenching task, drives past box stores while others are shopping, and then has to change into his uniform in a McDonald’s men’s room while families are eating Happy Meals.

The story of military wives left behind on the home front is one that continues to be overlooked in the flurry of operas and plays about soldiers coming home from the Iraq and Afghanistan wars. Thousands of women serve our country and make huge sacrifices for our war efforts—something most of us are not even aware of. These are characters we never get to see on the opera stage, and it is our hope that The Knock will bring their story to light.

A heartfelt thanks to all of the wives who opened their homes and hearts to me and who shared the struggles, rewards, pleasures, and travails of being married to the military. I dedicate The Knock to all of the wives I interviewed—and to military wives everywhere—who serve our country in the shadows. We owe you much.

Deborah Brevoort’s operas have been produced at leading U.S. companies such as the Glimmerglass, Ft. Worth, Chicago Opera Theater, Opera Colorado, ALT, and NYC’s Metropolitan Museum of Art. She serves as the librettist mentor for Washington National Opera’s American Opera Initiative.

ENTER THE WORLD OF THE knock

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Between 1810 and 1848, a trio of composers dominated the Italian operatic scene: Gioachino Rossini, Vincenzo Bellini, and Gaetano Donizetti. Their operas were written in a style referred to as bel canto, which literally translates as “beautiful singing.” Bel canto operas are celebrations of the human voice, and performers in this style could typically sing long, slow, and beautiful phrases, then quickly execute fast, spirited melodies with lots of high (and low) notes. The style is also known for its striking ensembles, in which multiple characters sing together with long, exquisite interweaving melodies, commanding our attention with both their collective beauty and dynamic individuality.

The stories in the bel canto tradition are typically easy to follow, and the orchestra provides very light accompaniment, allowing the voice to be the featured instrument. Rossini, Bellini, and Donizetti understood very well what their audiences wanted and seized every opportunity to thrill them. Theirs were the people’s operas, and their works elevated the voice as the vehicle for transporting emotion and evoking musical frenzy.

One of the most famous operas in the bel canto repertoire is Donizetti’s Lucia di Lammermoor, which premiered in 1835 and has been a staple ever since. But what makes it so popular? For me, the most thrilling aspect of the opera is the role of Lucia herself, which is a soprano tour de force. So many great singers have taken it on, and when they’ve succeeded, their reward has typically been a stellar career around the world recreating this desperate, unwilling bride. Lucia’s tragic ending is also the stuff of operatic legend, culminating in the “Mad Scene” (“Il dolce suono”). This is one of the most technically challenging soprano arias in the repertory—a true diva vehicle for any soprano who can conquer its perilous runs, leaps, vocal pyrotechnics, and high-octane vocal gymnastics.

When I was a young student, the reigning Lucia was Dame Joan Sutherland. She mastered every turn, every leap, and every virtuosic high note in the role, virtually owning it for more than 25 years. Before her, there was Maria Callas, Adelina Patti, Luisa Tetrazzini, Amelita Galli-Curci, and Lily Pons, whose voice was so high that she actually sang the Mad Scene up a whole step! There have been other famous Lucias, including Gail Robinson, Nellie Melba, June Anderson, Mariella Devia, Sumi Jo, Natalie Dessay, Virginia Zeani, Mattiwilda Dobbs, Beverly Sills, Anna Moffo, and current singers like Anna Netrebko, Nadine Sierra, and South African soprano Pretty Yende, all of whom have mastered the role’s complex challenge. And with this production, we get to witness another dynamic soprano, Raven McMillon, taking on this singular role for the very first time.

Even if you are new to this opera, its beautiful melodies will have you glued to your seat, and it will reveal how riveting and enthralling an opera can be and how the power of the human voice can transport us all to a theatrical experience like no other. I hope you enjoy the ride!

Dr. Everett McCorvey is the OperaLex Endowed Chair of Opera at the University of Kentucky. He is also the founder of the American Spiritual Ensemble and artistic director of the National Chorale in New York City. He enjoys an active career as an impresario, conductor, voice teacher, and mentor to many of today’s young artists.

ENTER THE WORLD OF LUCIA DI LAMMERMOOR

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When I investigate my own lens, I see that mine represents the East-West conflict that is core to Madame Butterfly. I am biracial--the son of a Caucasian mother and a Japanese father. I am an American whose family was interned during World War II. I grew up in Asia but spent holidays in California. I have spent most of my professional life devoted to the Western art form of opera, though I am often one of the only artists of color in the spaces where I work. I have loved Western classical music as much as I have loved Eastern art forms. Like Butterfly, I have yearned for acceptance but never felt truly at home in any single culture or place.

Butterfly has spent most of her existence seen through the lens of Western white men. Her story was first told by French novelist Pierre Loti, and it then passed successively to American writer John Luther Long, American playwright David Belasco, and Italian composer Giacomo Puccini. Likewise, so many of the Butterfly productions we have enjoyed throughout history have presented her story primarily through a white male lens. This fantasy of Japan has been created not by those whose culture is meant to be represented in the opera—namely, Japanese people and, in particular, Japanese women—but by those who, in many cases, have had no direct connection to Japan. Has this tradition had an impact on those whose story Madame Butterfly has actually meant to represent? I believe it has.

This new production of Madame Butterfly reclaims the opera’s narrative through the lens of an entirely Japanese and Japanese American creative team and amplifies the voices of an entirely female Japanese design collective. Together, we have grappled with the challenges of presenting this work for diverse American audiences. Just as Butterfly is trapped with little agency in the opera, we as Asian Americans have been trapped by many of the traditional depictions of Butterfly’s story. We seek now to release this opera’s wings for all to experience anew. To do this, we own that the fantasy of Butterfly that we have come to love is a Western fantasy. Instead of pretending that Butterfly is representative of our Japanese American identity, our production aims to amplify that her story has been seen through the lens of a white man, Pinkerton.

For me, Madame Butterfly is an opera I have spent 20 years studying and directing. I have deep love for this work, but it has simultaneously made me, as an Asian American, feel ostracized, and I have felt a duty to reclaim its narrative. With this new production, we aim to acknowledge that there are many ways to view this opera. Our hope is that this journey enables our empathy to be open to the impact we have on each other, and the need for a more compassionate understanding of perspectives outside our own. May the voyage into this production’s fantasy capture your senses, sweep you up in the music’s emotional power, and awaken your own lens.

Matthew Ozawa is a stage director, artistic director, and educator who has directed more than 70 opera productions around the world. He is also Chief Artistic Administration Officer for Lyric Opera of Chicago.

Enter the World of MADAME BUTTERFLY

Do you want to know more?

On February 20, 2016, Gioachino Rossini’s The Barber of Seville reached a significant milestone: it turned two hundred years old. From its earliest days, this work has enjoyed an almost unprecedented level of popularity and has maintained a consistent foothold in the operatic repertory. Indeed, any attempt to provide a complete catalogue of performances, published scores, arrangements, and recordings of The Barber that have emerged over the past two centuries would represent a fool’s errand. So ubiquitous is this opera that it has been possible to witness multiple productions every single year, in numerous cities, ever since its premiere.

Its omnipresence extends beyond the opera house, firmly engrained in popular culture as well. A quick search through YouTube and TikTok uncovers references to Rossini’s music in some of the most unlikely—and amusing—places: the overture serves as background music for a Doritos commercial that first aired during the 2013 Super Bowl (“Man’s Best Friend”), and the same tune is woven throughout an episode of Seinfeld in which Jerry attempts to sever ties with his longtime hairdresser (“The Barber,” season 8, episode 5). Most memorably, The Barber of Seville was adapted by Warner Bros. for the Looney Tunes short, Rabbit of Seville (1950), thus ensuring a place in the consciousnesses of innumerable cartoon-watching youth from the past seventy-three years and counting. Why has Rossini’s opera maintained such consistent and widespread appeal?

In part, it’s because of its amusing story, which Rossini and his librettist, Cesare Sterbini, adapted from the 1773 play of the same name by Pierre Beaumarchais. The story of Rosina and Almaviva is timeless, two young lovers destined to end up together but temporarily kept apart by a bumbling elder, the arrogant Doctor Bartolo. The help that Figaro extends to the young lovers adds interest and intrigue to the story, and the antics of all these characters keep audiences laughing from beginning to end. Even more than the story, it is the music that has kept audiences coming back to The Barber for centuries.

From the opening notes of the overture to the joyful finaletto, this opera is packed with some of Rossini’s most iconic melodies and hummable tunes. One of the most fascinating aspects of this opera’s history, however, is that 19th- and early 20th-century singers sometimes chose to ignore Rossini’s score. For the Act II lesson scene, for instance, prima donnas rarely sang “Contro un cor,” the aria Rossini wrote for that moment. Instead, when Almaviva asked them, “What would you like to sing,” they performed whatever they wanted. Adelina Patti, one of the 19th century’s most famous sopranos, provides the most fascinating example. During this scene, she would perform two or three arias, none of which were composed by Rossini, and she almost always concluded with “Home, Sweet Home” by Sir Henry Rowley Bishop. Her audiences loved it and never complained that “Contro un cor” went missing!

Whether singers follow Rossini’s score faithfully or follow their own path by introducing arias of their choosing, performances of The Barber of Seville never fail to delight. With this opera, Rossini and his librettist tapped into timeless sentiments and wove unforgettable melodies around the charming narrative. The result is an opera that has been performed for centuries and is destined to grace opera houses for many more to come.

Hilary Poriss is Professor of Music History at Northeastern University, Boston. She is a specialist in 19th-century Italian and French opera and is the author of Gioachino Rossini’s The Barber of Seville (2021).

ENTER THE WORLD OF the barber of Seville

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Maybe it’s your first time attending the opera, or perhaps it’s simply your first time back in Music Hall since our 2019 season! Either way, you may be seeking some inspiration for what to wear to the opera this summer and we’re here to help! Keep reading for our recommendations from local boutiques, interesting online stores, and a haberdashery or two to keep yourself looking sharp for the opera:

First and foremost, the best thing to wear to the opera is whatever makes you feel the most like yourself. Gone are the days when a black-tie dress code was the standard. We promise we’ll be happy to see you, regardless of what you’re wearing!

First up, some femme outfit inspiration:

For something that keeps you comfortable in the heat of Cincinnati’s summer season:

This breezy dress is from Native One, located in OTR. The pop of color is perfect for a photoshoot outside of Music Hall!

This romantic number is from another local shop, Cala Boutique. This is a perfect look for getting drinks at The Porch in Washington Park before seeing a show.

Another romantic moment, this dress is just the right amount of breezy and elevated. Plus, it’s 100% viscose, so it breathes!

This dreamy kaftan is perfect for keeping cool and comfortable on your way to and from the opera. The satin and unique draping help to keep it from looking too much like a house dress, even if it’s just as comfortable as one!

Some things to keep in mind if your goal is to stay cool:

• Wearing breezy, loose-hanging garments is always a safe bet!

• Stick to natural materials like cotton and viscose.

• You can easily dress up a comfy, loose dress with a killer platform shoe and a funky jaw clip.

• Music Hall has great air conditioning, so you may want to bring a wrap for the performance itself!

For something that brings the DRAMA:

This dress from Native One has just the right amount of cut-outs to show some skin while keeping a flattering silhouette. The bell sleeves just add to the drama.

This sleek body-con dress from TMBTITWI is perfect if you’re looking to bring a bit of retro drama to the opera house. With a neckline that says pin-up girl and an open back that keeps things feeling modern, how could you lose in this dress?

This dress by Rachel Comey begs for attention, while still being comfortable to sit in for a three-hour performance. You can shop the look now at IDLEWILD, a local boutique in OTR.

To really make a statement, something like this gown by Ulla Johnson is a great choice. This silhouette looks great on a variety of body types and ties at the side for some flexibility.

To keep your look just as dramatic as the plot unfolding on stage:

• These dresses (or ones like them) are begging to be paired with big, sparkly jewelry. Try a glitzy choker with plunging necklines, or a pair of statement earrings to amp up the drama.

• A headpiece is always a good addition to any look, so maybe consider a vintage one to add some character (just make sure that it doesn’t block your neighbor’s view!).

For something that plays with silhouettes and cut-outs:

The cutouts on this dress add an interesting element to an otherwise simple dress, and the comfortable fabric is an added bonus. Add a bright and/or funky heel an a statement earring to lean into your inner artistic aficionado side.

Sleeves are such a good way to play with silhouette, and this dress is no exception. The pleats on this sleeve add just enough interest without letting your puff sleeves get in your neighbor’s personal space.

For something that mixes comfort and asymmetry, go with this piece by Maison Margiela, again available at IDLEWILD in OTR. Throw on a nude heel or a chunky flat, and you’re ready to go!

To really make a statement, go for one of Issey Miyake’s mold-breaking pieces. This Planet Dress looks like an elegant, draped jersey dress when standing, but lifting your arms reveals a whole new silhouette that reminds us of Sarastro in Die Zauberflöte.

Abstract silhouettes are one of the hottest trends of late, and what better place to try something with a bit of creative flair than the opera?

• Whether it’s a mini dress or something more dramatic, a modern, architectural piece is sure to contrast nicely with Music Hall’s traditional aesthetic for your Instagram photoshoot on the balcony.

For something chic, but not loud:

For something elegant and simple, this sage dress is a perfect bet. The waist detail makes this silhouette flattering for a wide array of bodies, and the leg slit shows just enough skin to keep things feeling young and fresh.

This classic silhouette is sure to be comfortable from dinner and drinks to curtain call, and will look elegant for the duration of the evening. The summery leaf print just adds to the charm, and the fact that you can pick it up from our friends at SLOANE Boutique is an extra perk.

This elegant knit dress is the perfect pix of comfort and simplicity. Another pick from our friends at IDLEWILD, this dress is sure to be a staple in your wardrobe well after our season wraps.

This dress keeps it simple, with a few unique details that shine when you take a closer look. Though this isn’t the most traditional gown, it still carries the elegance of ballet costumes and starlets of yore.

Don’t love the spotlight? That doesn’t mean you can’t be a stand-out dresser at the opera!

• Opt for something simple and elegant and add a touch of simple jewelry.

• If you’re feeling adventurous beyond your clothing, a fun eyeliner look is a great way to step up these simpler dresses.

For a matinee:

This dress leans into the abstract print trend, but it really reminds us of the panels in Music Hall’s Rose Windows.

This breezy linen midi is perfect for bopping from a pre-show brunch to Music Hall for a 3:00 PM matinee. Check it out at Boutique Cala right here in OTR!

This dress is perfect to dress up or dress down, depending on how you’re feeling. Want to get a little fancy for your matinee? Add heels and a sparkly bag! Feeling more like being cozy while you watch the show? Throw on a cardigan and a simple sandal ( so that you can kick your shoes off in the house) (we won’t tell anyone).

This funky take on a simple sundress is a dream for a pre-matinee drink and a photoshoot in our lobby. More importantly, it’ll be comfortable for the whole afternoon. The Harry Styles vibes that the pink color gives off are just ice cream on the cake.

Matinees are the laid-back cousin of opening nights. If you’re headed to the opera after getting a little too full at brunch, you should be comfortable!

• A sundress is always a safe bet for matinees!

• Bright colors are a great way to feel more intentional with your outfit, without having to try too hard.

• Again, it may be wise to bring a sweater along. It can get chilly in Music Hall when the AC is blasting!

For an opening night:

Satin is a great way to bring a little glamor to your look. This dress from Native One ticks all the boxes to serve looks at opening night for any show this season.

For something that makes an impact while still remaining elegant, this draped number is the way to go. The stretchy material makes it the perfect look for enjoying a lengthy opera, followed by drinks with your date at one of the bars within walking distance to Music Hall!

This dress screams opening night of The Pirates of Penzance, but it would shine in any of our productions’ audiences! Another piece from our friends at Sloane this dress is sure to make a splash.

If you feel like pulling out all the stops on opening night, something like this pearl-endowed number from Rachel Comey is sure to turn heads! Find it at IDLEWILD, and pick up some ceramic earrings while you’re there to top off the look!

Opening night is a great place to bring your fashion A-game. From colorful gowns to wearable art, opening nights are a great place to see and be seen when it comes to the opera world.

• Strut your stuff! This is a great opportunity to break out your funkiest shoes and make a statement.

• If you’re feeling extra dramatic, try leaning into the theme of the show! For Fierce, bust our your brightest, most Harry Styles-inspired looks. For The Pirates of Penzance, a breezy maiden dress or something tropical is a great way to go. Personally, I’ll be going the swashbuckling maiden route with my outfit, but to each their own.

Some inspiration for masculine looks:

Again, something for staying cool in the Cincinnati summer heat:

Go for a linen suit to stay cool. You may be worried about wearing linen because of the wrinkles that may come along with sitting through four acts of marvelous singing. If linen isn’t your jam, try to stick to natural fibers like cotton and silk to keep from getting too warm on your way to Music Hall!

For something that brings the drama to Music Mall:

To bring the drama to the most dramatic of art forms, go for a wide-legged suit! This one from ASOS really nails the dramatic silhouette, but similar ones can be found at second-hand stores all around Cincinnati.

For something that goes outside of the box:

The asymmetrical, oversized silhouette has been a fashion staple in post-COVID wardrobes, and it’s here to stay. For something that screams “photo shoot on the steps of Music Hall,” try a unique belted blazer and some platform loafers!

For a subtle twist on a classic look:

This Shawl Collar Suit from Bonobos is begging to be elevated with a touch of gold jewelry and a vibrant pocket square.

For a more affordable option, this sleek jacket from ASOS is a great option! Dress it up with a saturated, colorful shirt and a funky shoe.

Put a simple twist on a classic look with a leveled-up tuxedo! It’s a staple for a reason, but why not bring a little bit of fun to the look?

• If you’re on a budget, rent! Renting the tuxedo also gives you more room to spend on accessories like ties, pocket squares, and funky jewelry.

• If you’re feeling daring, try playing with an eyeliner look, like dots under the eyes or a colorful swipe on the lid for an extra kick!

For a matinee:

As I mentioned before, matinees are, traditionally, a little more laid-back when it comes to wardrobe. 

• For something comfortable that still makes a statement, check out these matching sets from Tombolo. The dramatic prints and funky embroidery on these matching terry cloth sets are begging to be dressed up with a good shoe and a good watch. 

• My personal favorite is the fish set, but they’ve got tons of options, from golf and basketball prints to picnic ants and tigers.

For an opening night:

Opening night is great for leaning into themes, of course. However, certain shows lend themselves to themes more than others. For one of our new works, it’s much harder to match a theme in comparison to, say, The Pirates of Penzance.

• If you don’t feel like donning a puffy poet’s blouse for The Pirates of Penzance, break out some classic suiting! Bust out your favorite suit and tie, or treat yourself to some new threads from our friends at Pursuit!

The bottom line is this: the best thing to wear to the opera is whatever makes you the most comfortable. We’ll be thrilled to see you in a gown, jeans, shorts, or even in a little bit of costuming. Come as you are! We’ll be so happy to have you here.

By DiDi Turley

After nearly three years away from Music Hall and SCPA, we’re all thrilled to be coming home to the stages we love. For many of our artists, though, our 2022 Summer Festival Season isn’t a homecoming event, but a grand debut! Some of these artists have been awaiting their Cincinnati Opera debut since our canceled 2020 season, and others are making their first venture into the professional opera world. Keep reading to get to know some of our amazing debuting artists for this season:

Where are you from? “Spring Hill, Florida”

Where do you call home? “New York, New York”

Do you have any pets? “Yes! Sir Arthur Seymour Sullivan, a miniature Pinscher named after the composer of Pirates of Penzance.”

Did you plan on pursuing a career in opera? “Absolutely not! I wanted to be a dog groomer.”

Where are you from? “Houston, Texas”

Where do you live now? “Washington, D.C.”

Did you plan on pursuing a career in opera? “My dream was to be Patti Lupone’s protégé. Needless to say, it went in a slightly different direction.”

What has been your most significant performing experience so far? “Performing in the Supreme Court (with Justice Ginsburg inches away from us) as we sang Menotti’s The Consul.”

Do you have a dream role that can never be? “TOSCA! She is, in my mind, the quintessence of feminine power!”

Where are you from? “Augusta, Georgia”

Where do you live now? “Waco, Texas”

What’s your favorite pastime when you aren’t singing or traveling for work? “I am an avid mountain biker. I also enjoy camping and anything outdoors-related.”

What’s your favorite thing about Cincinnati (if you’ve been here before, of course)? “When I was at CCM for a year, I thoroughly enjoyed going to Reds games with friends. Hoping to catch a few this summer!”

Where are you from? “Loveland, Colorado”

Where do you live now? “Cincinnati, Ohio, for right now but I will be moving to Minneapolis in August!”

What has been the most significant experience you've had during your career so far? “Working in the arts, I've had the pleasure of meeting some of the most authentic and unique people. Being a part of the opera community has given me the confidence and security to finally embrace my own queer identity”

Do you have a dream role that can never be? “I would loooove to sing Scarpia. Who doesn't want to sing the ‘Te Deum!’?'”

Any news that you'd like to share? “Starting this fall, I'll be joining Minnesota Opera as an incoming Resident Artist!”

Where are you from? “Louisville, Kentucky”

Where do you live? “Lexington, Kentucky”

Did you plan on pursuing a career in opera? “I didn't necessarily plan on pursuing a career in opera when I was young, but I knew that whatever I would do, it would involve performing. I would say the same is still true now. I am not pursuing a career in opera; I am pursuing a career in performance. I love opera, but I also love conducting orchestral and choral music, performing in musicals, singing jazz, acting in plays, and dancing! They are all interconnected to me and I would be silly to just focus on one of them.” 

Do you have a dream role that can never be? “I would love to perform Mama Rose from Jule Styne and Stephen Sondheim's Gypsy, but I just don't know how or when that would ever happen!”

What’s your favorite things about Cincinnati (if you’ve been here before, of course)? “I have been in Cincinnati for two weeks now, and my favorite part about the city is Eden Park! I have enjoyed a morning walk almost every morning since I have been here and it is truly stunning. The birds sing their little hearts out, the people are always very kind, and the view at the top of the hill is to die for!”

Where are you from? “Grande Ronde, Oregon”

Do you have a favorite pastime when you aren’t singing or traveling for work? “I regularly practice my heritage arts: beadwork and quillwork. I also love to paint and read.”

What has been your most significant experience in your performing career so far? “Singing in Porgy and Bess at The Metropolitan Opera has been the most impactful experience to me so far because of the incredible connections I made there, which launched my career.”

Any news that you’d like to share? “I will be getting married next week, and we’re moving to Austria in September as I join the Opernstudio (young artist studio) at Volksoper Wien.”

Where are you from? “Newburgh, New York”

Where do you call home now? “My suitcase.”

Did you plan on pursuing a career in opera? “Originally the plans were navy officer, but I am prone to seasickness; National Parks ranger, still a possibility later in life; or pediatrician. Saw my first opera on video at age 11 and my first live performance at the met when I was 14,; by age 16, it was my dream job.”

What has been your most impactful experience in your career so far? “So many, thankfully. Most all the many collaborations I have been fortunate enough to take part in. Meeting Arthur Ashe and Bob Merrill on the same night. Lyme disease for about 3 years when I was a teenager and just starting to get into singing. A not so wee car accident in 1997; two broken legs - hit as a pedestrian by a drunk driver. Singing is what kept me sane through it all.”

What is your favorite things about Cincinnati (if you’ve been here before, of course)? “I last came to Cincinnati 25 years ago for an audition, so it has been a while. I look forward to exploring the city and meeting the flying pigs.”

Where are you from? “Kansas City, Missouri”

Where do you live now? “Los Angeles, California”

When did you start singing? “I started taking voice lessons when I was 16.”

Did you plan on pursuing a career in opera? “I didn't know anything about opera or operatic singing when I started taking voice lessons. I wanted to be a pop star.”

What’s your favorite pastime when you aren’t singing or traveling for work?“I enjoy pulling out my guitar once in a while.”

Where are you from? “Fort Worth, Texas”

Where do you live now? “Cincinnati, Ohio! Though I’m about to relocate to Oslo, Norway, in August!”

Did you plan on pursuing a career in opera? “When I was growing up, I really wanted to be a professional violinist. Although I sang, I didn’t see my first opera until my senior year of high school. I started my undergraduate in music education hoping to be a choir and/or orchestra teacher. After falling in love with opera halfway through my degree, I switched to vocal performance full time!”

Do you have a dream role that can never be? “I would LOVE to be Figaro in The Barber of Seville if I could!”

What is your favorite thing about Cincinnati? “I love being in a city where there’s such a strong art community! I spent most of my time in Cincinnati during the pandemic and would love to explore more while I’m here this summer.”

Where are you from? “Cincinnati, Ohio”

Did you plan on pursuing a career in opera? “No, I was an instrumentalist most of my life (piano, oboe, English horn) and considered a major in brain and cognitive science.”

What is your favorite pastime when you aren’t singing or traveling for work? “Woodworking with my husband, Josh.”

Do you have a dream role that can never be? “Sarastro in The Magic Flute”

Where are you from? “Waldorf, Maryland”

Where do you live now? “Philadelphia, Pennsylvania”

When did you start singing? “Since the third grade. I took the elective to get out of PE, and the rest is history!”

Did you plan on pursuing a career in opera? “I was into heavy metal and prog-rock when I was young, so I wanted to tour and have a skateboard shop/park when I was home.”

Do you have a dream role that can never be? “Carmen is such a great role!”

Where are you from? “Philadelphia, Pennsylvania”

Where do you live now? “(Just outside of) Milan, Italy”

Did you plan on pursuing a career in opera? “I always sang, but I was reluctant to become a professional singer. I had been warned by many that it would be a rough road, and I tried many times to choose a different path — but the stage kept roping me back in! I considered being a lawyer (with the hopes of one day being a judge) — that was what my father wanted me to be, not really what I wanted. I also considered becoming a therapist, a teacher, an agent...and, in my own way, I do all of these things anyway!”

What has been your most significant experience in your career so far? “This question is very hard to answer. I don't know if there is any one experience I would hold up as being *the most* impactful or important. Every experience, good or bad, has led to other experiences which would not have been possible without what came before. I guess I can say this: every time I have a positive experience singing — every time I feel useful to humanity by providing an emotional outlet to an audience through music — that is the validation that spurs me forward, and that keeps me invested in this career. I guess what I am trying to say is that the impactful experiences in my career are constant — and if they weren't, I wouldn't be doing this for a living, because it absolutely would not be worth it.”

Do you have a dream role that can never be? “No, not really...maybe the Dutchman… but the roles I get to sing are pretty fantastic.”

Any news that you’d like to share? “I am making my debut in a Wagner opera this year, and am currently studying German. I already speak French and Italian (in addition to English) and want to speak all four languages well enough to pick up any score, newspaper, or magazine, and read it. I'm giving myself until the end of this 2022 to become quadrilingual!”

Where are you from? “Austin, Texas”

Where do you live now? “Waco, Texas”

Do you have any pets? “Two rescues: Lulu and Wednesday, both chihuahua mixes.”

What has been your most significant experience in your career so far? “I was very close with my grandfather and he was a professional trumpet player. Many working trumpeters know of him or have studied with him, so one of the great joys of my job is meeting the trumpet section in each orchestra, chatting about my grandpa, and meeting some of his former students who knew him well.”

What is your favorite thing about Cincinnati (if you’ve been here before, of course)? “Cincinnati has great parks!”

Where are you from? “Washington, D.C.”

Where do you live now? “Cincinnati, Ohio”

When did you star singing? “Age 2, but I found my opera voice my junior year of high school!”

Did you plan on pursuing a career in opera? “I always knew I wanted to sing, although I did want to be the first Black female president at one point (still could happen...). I fell in love with opera after hearing recordings of Kathleen Battle and Jessye Norman in high school.”

What is your favorite thing about Cincinnati? “Eden Park is beautiful! I love walking around there, and I look forward to getting married at the Cincinnati Art Museum in August!”

Mention Giuseppe Verdi’s Aida to someone not deeply acquainted with it and the response might be, “That’s the grand opera with the elephants!” In fact, apart from some outdoor performances done in the past for tourists at Rome’s Baths of Caracalla, the presence of pachyderms in Aida productions is rare indeed.

This opera is much more than grand spectacle, thrilling though that can be. Ismail Pasha, the Khedive of Egypt, wanted Verdi to write an ode to inaugurate the Khedivial Opera House in Cairo coinciding with the opening of the Suez Canal in 1869. Verdi was offended, replying that he would not create music for “an occasion.” The theater ultimately opened with Rigoletto on November 1, 1869.

Aida only came later, in part because Verdi was intrigued by some of the elements of the story and its dramatic potential. It did not hurt that he was offered the stupendous fee of 150,000 French francs (four times what he got in Paris to compose Don Carlos in 1867).

Like all of Verdi’s masterpieces, Aida is suffused with the composer’s concerns about political freedom, justice, questions of public responsibility versus private desires, and the inevitable disaster that is the legacy of those who would make war rather than love. 

Verdi had used his early operas—including Nabucco, Attila, and Macbeth—to foster Il Risorgimento (the Resurgence) that led to the formation of the Italian Republic in 1861. The struggling new nation was showing signs of discord. When Verdi began work on Aida, conflicts (including the Franco-Prussian War and Siege of Paris in 1870) had been raging in Europe for decades.

The composer was a senatore a vita (a permanent senator) in the new government, whose first capital was Turin, seat of the House of Savoy, Italy’s royal family. They had a passion for ancient Egypt and, in 1832, opened the world’s first museum devoted to the subject. Verdi spent considerable time there, drawing inspiration to create Aida.

Typically, Verdi took part in rehearsals of his new operas to elaborate or fine-tune his orchestrations and make changes if he felt something in the dramaturgy could be improved.

Verdi did not go to Cairo to participate in the inaugural production. This meant that he did the orchestration ahead of time. Given Verdi’s talents and those of his librettist Ghislanzoni, and the importance of the occasion, it was not a surprise that the opera enjoyed a huge success on December 24, 1871.

When Aida came to Italy (La Scala on February 8, 1872), Verdi tinkered with it somewhat. He composed an overture but eventually abandoned it during the rehearsal period. He also focused more on the final moments of the opera, when Aida and Radamès sing a love duet in the chamber that will become their tomb.

The last lines of the opera are given to Amneris, Aida’s Egyptian rival for the love of Radamès: “Pace t’imploro, pace, pace, pace.” After all the death and bloodshed—in the opera and in real life—the composer (through Amneris) makes a plea for peace to his own fellow citizens and to all Europeans. How sadly fitting his message still is today.

Fred Plotkin is author of Opera 101: A Complete Guide to Learning and Loving Opera. He writes for WQXR’s Operavore, lectures for major opera companies, and hosts “Fred Plotkin on Fridays” on Idagio.com.

The creators of Castor and Patience would like to acknowledge that this work is being performed upon the unceded traditional territory of the Delaware, Miami, and Shawnee tribal nations. We pay our respects to elders, past, present, and future. 

This work of fiction is invested in the joys and complexities of home and family, and it asks us to ponder certain questions: What and who is home? What can we ask of the people we love? What do we owe them? Are the things we inherit meant to set us free, or bind us more tightly to one another?  For the Black family at the heart of this story, these questions inevitably lead forward into possibility and back toward a many-layered history. 

The ancestral home of Castor and Patience is rooted in the American South where Black citizens’ claim to property has historically been fraught. In 1865, the U.S. government initiated an effort to allocate Confederate land to formerly enslaved Blacks. Months later, following Abraham Lincoln’s assassination, one of Andrew Johnson’s first acts as president was to undo this groundbreaking “40 Acres and a Mule” initiative and redistribute nearly all of the land in question to whites. A great many Black families were pushed into sharecropping or tenant-farming arrangements, and thereby wedged in the rungs of the racial caste system known as Jim Crow. 

However, some newly emancipated Blacks in coastal Georgia and South Carolina managed to purchase land from the U.S. government during Reconstruction. What was once a site of their enslavement became home to a host of autonomous Black communities—some of which exist still despite more than a century’s worth of threats from erratic tax practices, eminent domain, the complex legal issues surrounding heirs’ property, and other means both legal and nefarious. Although, as the value of property along the Southern coast soars, zealous developers contribute to the rate at which Black farming communities are being replaced with golf resorts and luxury enclaves.

It is this legacy that provides the backdrop for the original libretto for the opera Castor and Patience, which takes place at the beginning of the 2008 financial disaster, a moment of economic crisis with its own links to land and real estate speculation. In the opera, the character Patience is committed to hanging onto the land her family has owned since Reconstruction. But she is an heir-in-common with Castor, whose parents left the South for Buffalo during a late wave of the Great Migration. In building a life of opportunity and even thriving for their children in the North, Castor’s parents swapped Jim Crow for policies of redlining, housing segregation, gentrification, predatory lending, and displacement through eminent domain.

What and who is home? What can we ask of the people we love? What do we owe them? Are the things we inherit meant to set us free, or bind us more tightly to one another?

If we were to regard this story from an even further vantage point, we might see that Castor and Patience are contending with an even older legacy: that of land theft, displacement, and genocide which can be traced to the first days of European settlement on these shores. Or, to put it differently, we might be nudged to admit that, no matter who we are or where we call Home, History is always here with us, pushing up from the ground beneath our feet.

Tracy K. Smith is a two-term U.S. poet laureate (2017-2019), author of five collections of poetry, and recipient of the 2012 Pulitzer Prize for her collection Life on Mars.

Gregory Spears is a New York-based composer. His opera, Fellow Travelers, with libretto by Greg Pierce, received its world premiere at Cincinnati Opera in 2016.

The Pirates of Penzance, Gilbert and Sullivan’s fifth collaboration, premiered in 1879 and has outlasted their other 13 operettas, for good reasons. William S. Gilbert’s satiric pen took aim at less-than-deserving military appointees (this time, a modern major-general), politicians, and human foibles, while his partner, composer Sir Arthur Sullivan, satirized Italian opera. Joseph Papp’s wildly successful 1980 production for New York’s Public Theater revitalized Pirates with updated orchestrations and a star-studded cast including Linda Ronstadt, Kevin Kline, and Rex Smith. Highlights from the live performance and the film adaptation are worth seeking out on YouTube.

Papp didn’t need to update anything in the script; the stage and screen versions demonstrate that the humor remains timely and classic.

But Gilbert and Sullivan were targeting actual pirates who made the most of limited copyright laws. Back in the 19th century, British copyrights did not extend to the U.S., and American impresarios were only too happy to present the duo’s hugely popular H.M.S. Pinafore without having to pay royalties. Gilbert and Sullivan retaliated with The Pirates of Penzance, staging a makeshift production in New York to secure a U.S. copyright, the only work of theirs to have its world premiere outside of London.

To no avail. Although the copyright laws failed to prevent unlicensed stagings, Gilbert and Sullivan did quite well with officially authorized productions that outdrew the competition, just as they had with H.M.S. Pinafore.

And Gilbert was much kinder to his own pirates than he was to the British military and constabulary. In his topsy-turvy world, the pirates are tenderhearted and “comparatively honest,” the police run from confrontation, and the military is clueless. 

Gilbert’s targets included British devotion to rectitude and personal duty. Frederic, who has been apprenticed to the pirates until his 21st birthday, wails that he is “the slave of duty” when his birthday turns out to be February 29. Get it?

Sir Arthur set his sights on grand opera, sending up bel canto coloratura with Mabel’s bravura aria “Poor Wandering One.” Verdi’s “Anvil Chorus” is lampooned in Gilbert and Sullivan’s most famous chorus, “With Cat-Like Tread.”

Even Schubert comes in for parody as the Major-General sings “Sighing Softly to the River,” accompanied by “water-rippling” phrases from the strings. There’s disagreement on whether the grand chorale in the Act I finale (“Hail, Poetry”) is another Verdi sendup or a Mozart string quartet parody. Whoever the target, Sullivan’s musical settings have their own sly brilliance that are the perfect match for Gilbert’s equally brilliant wordplay.

It’s been 42 years since The Pirates of Penzance dropped anchor in Music Hall. A pick-up orchestra accompanied the cast, most of whom were members of the young artists program. 

This time around, Pirates makes a triumphant return with the CSO in the pit and a cast of world-class professionals, some of whom have performed, staged, or conducted Gilbert and Sullivan as well as Verdi, Donizetti, and Mozart.

Welcome back, friends who plow the seas! We’ve missed ye.

Anne Arenstein is a freelance writer whose work appears in City Beat, Parterre, and Cincinnati Fanfare. She wrote a chapter on new works for Cincinnati Opera: A Centennial Celebration.

Fierce is about . . . growing up, facing fears, taking responsibility, being compassionate, enjoying time spent with loved ones, standing up for oneself, and gathering courage to tackle the difficult moments. Fierce is about life. The story is told through the eyes of four teenage girls living in contemporary society. For source material, the creative team coordinated a series of conversations with ten young women who were—and some of whom still are—participants with community-based organizations Music Resource Center (“MRC”) and WordPlay Cincinnati. They are known as the “Muses”: talented musicians, composers, journalists, and poets. Later in the process, a trio of young women from i.imagine, a Northern Kentucky-based organization, merged their talents for photography with this core group, documenting inspiration-gathering sessions on film.

The conversations with the “Muses,” held over a period of a year, were richly layered, consisting of exchanges running the gamut from parental expectations and college admissions anxiety to spirited debates on lipstick color choices! They included passionate exchanges about ethnic identity and discussions on dating behavior. And the conversations concluded with a renaissance of ideas about what it means to be a woman in this world—as it is now. The deep dives of conversation I had with the “Muses” were held in a conclave of all-female participants.

From these conversations emerged a story supported by four leads—Rumer, Morgan, Nyomi, Vesta—and a focus on issues that were of keen interest and relevance not only to the young women but also to the female members of the creative team, including stage director D. Lynn Meyers and me. The geography of the life of a young woman encompasses many layers, and the excavation is not always easy or straightforward. There was as much laughter about the pizza served as there were silences once confidences had been revealed. The encroachment of technology into the lives of 21st-century people has meant not only increased access to news, information, and entertainment, but also the erosion of privacy and exposure to a higher level of cruelty and abuse. The chorus—known as “Trolls”—arose from these discussions. 

The names of the lead characters are also linked to the strengths of women throughout the centuries. We think of “Vesta” as a domestic Roman goddess of the hearth. But some archaeologists have posited that this incarnation is built on an earlier deity, a goddess of fire. “Nyomi” is a derivative of names from several cultures including Japanese, as well as “Naomi” from the Old Testament who may appear to be a follower but, in fact, may represent strength and resolve. “Morgan” is a derivative of the powerful Celtic goddess known by many names including the “Morrigan.” She is a shape-shifter and, from the stories told in Irish lore, she is not to be trifled with! “Rumer” is a name with mysterious and conflicting origins (English, German, Welsh) and vague meaning. Rumer, the character, is mysterious and full of conflicting desires. But she can focus on what’s important—when she wants to! 

These women are warriors, and it is their spirit that embodies the best definitions of the word “fierce”: determined, tenacious, strong. They will remake the world.

Sheila J. Williams is a novelist who lives in Northern Kentucky, and her most recent novel, Things Past Telling, was released in March. Fierce is her first opera libretto.

With our return to Music Hall and SCPA, two world premieres, and incredible casts in store for our 2022 Summer Festival, there’s a lot happening behind the scenes! Check out this breakdown of things to know about Cincinnati Opera’s homecoming season:

2 world premieres will take the stage (at last)!

Castor and Patience, with music by Gregory Spears and libretto by Tracy K. Smith, and Fierce, with music by William Menefield and libretto by Sheila Williams, will both receive their world premieres this summer. Both were scheduled to premiere in 2020 but were postponed due to the pandemic. With both operas sharing relevant, relatable stories and featuring powerhouse casts, they’re sure to make a big impact.

With 5 GRAMMY Award-winning artists and 2 GRAMMY nominees featured this season, we’ve got accolades galore!

Also joining us this summer are winners of an Emmy Award, Drama Desk Award, GLAAD Award, and Pulitzer Prize, as well as a former U.S. poet laureate!

Out of our 5 productions and 1 featured concert this summer, 40 of our cast and creative team members are making their debuts with us.

25 of those debuting are singers, and the other 15 are members of the creative teams. Some artists are making their professional debut, like our Parpignol in La Bohème (Houston Tyrrell), and others are debuting with us after decades of professional work.

With 70 opera professionals flying into Cincinnati to join our casts and creative teams, we’ve been racking up the frequent-flyer miles.

We have artists joining us from across the globe—from Korea to Canada, and everywhere in between!

Our largest cast this summer will boast 128 people on stage at one time.

Verdi’s famously epic Aida, which closes out the 2022 Summer Festival, will be our largest show. Between principal singers, chorus, dancers, and supernumeraries, we’ll have a solid 128 people on stage at one time. On top of that, there will be 71 musicians in the pit!

Over the summer, we’ll spend ~690 hours in rehearsal.

Between staging, chorus rehearsals, orchestral read-throughs, sitzprobes, and tech rehearsals, we’ll be in rehearsal for nearly 700 hours by the time our season wraps. At the peak of our season, 4 out of 5 of our productions will be rehearsing, tech-ing, or performing all at the same time!

And lastly, by the end of the summer, we’ll have administered ~5600 COVID tests to our staff and singers.

We’re taking every possible precaution when it comes to our team’s health and safety this season. This includes masking in the rehearsal space and testing staff and singers twice a week! It’s going to be a lot of swabs, but it’ll be well worth it so that we can safely return home to Music Hall and SCPA for our 2022 Summer Festival.

Consistently near the top of any list of most-performed operas in the world, La Bohème is the work that made Giacomo Puccini immortal. After a somewhat mixed reception at its premiere in 1896 – the public loved it, the critics didn’t—the opera has, for 126 years, maintained an enduring appeal, occasionally crossing the line between opera-lovers and general audiences, such as in Norman Jewison’s film Moonstruck.

I love the way the opera begins. We know that the opening music comes from the Capriccio Sinfonico, a piece Puccini composed years earlier while he was a student. Here it brings to mind someone energetically and determinedly—perhaps stamping the cold out of his feet—marching up all those stairs to the garret where Rodolfo and Marcello are working, sweeping all of us along.

In 1893, when he began work on La Bohème, Puccini was 35 years old. Fresh off his breakthrough success with Manon Lescaut, he was Italian opera’s new star composer. Manon Lescaut fairly gushes with melodic inspiration, a pent-up passion released in an extravagance of tunes that fall all over each other trying to be heard. With his next opera, La Bohème, the melodic inspiration is just as strong, but distilled. It’s as if all of Puccini’s strengths had found their perfect vehicle: Henri Murger’s novel, Scènes de la vie de bohème. In his fourth opera, the composer found a subject that married his personal experience and gifts of melody to his innate theatricality.

I think Puccini tapped into a universal feeling, a nostalgia perhaps, about youth—its energy, passions, humor, and optimism, as well as the heartbreak of first love—that so many of us identify with when we remember our own young years. It is perhaps this bittersweet quality that, more than any other, accounts for La Bohème’s evergreen popularity.

From the very first note, Bohème exudes a vitality and lyric inspiration that is almost irresistible. There is nothing in the opera that doesn’t seem organic; every note adds a bit of atmosphere, reinforces a story element, or illuminates a character. As tenor Luciano Pavarotti once said, “Bohème is like a wound-up spring: Once it starts unwinding, nothing can stop it.”

Much of Bohème’s effectiveness must be credited to the superb libretto by Giuseppe Giacosa and Luigi Illica. Together with Puccini, they developed a conversational musico-dramatic language that moves fluently from “dialogue” to set pieces. It’s a style particularly suited to this group of friends, people so familiar and intimate with each other that they literally complete each other’s (musical) sentences.

I can’t think of another opera dear to me where I’m consistently moved by, of all things, the final curtain call. Something about seeing those Bohemians, sometimes visibly affected by the tale they’ve told, gets to me. In addition to the beautiful melodies and touching love story, Bohème gives us a simple story about human beings and their relationships. Of being a friend in need—even when everyone’s in need. The love of pleasure and having a good time. Of loyalty. Of illness and the cruelty of fate. Of life’s fragility and of taking joy in little things. Of living in the moment.

Suzanne Martinucci is a New York-based writer and lecturer on opera. She is a regular panelist on the Metropolitan Opera Quiz during the Toll Brothers Saturday afternoon radio broadcasts.

Burke’s curiosity may not have launched a music career, but it has resulted in a thirty-year journey in sound design and engineering that has taken him around the world, from his native U.K. to Hong Kong and the United States, where he now resides and leads the sound design program in the School of Theater, Film and Television at the University of California, Los Angeles. This summer, that journey brought him to Ohio to create the one-of-a-kind soundscape for Cincinnati Opera’s three Summer at Summit productions.

Below, Burke offers an insider’s view of the unique challenges found in designing sound for outdoor opera.

What is it about sound design that appeals to you?

For me, it is a nice blend of music, technology, and artistic satisfaction. I think I knew it was going to be a career when I started getting offered work during college. There weren’t many people doing it, and I got lucky landing some great jobs where I was supported and pushed to use new tools and ideas. Now that I have done this for a large portion of my life, I love sharing what I have learned with the new generation of designers and engineers. I truly love what I do.

Creating an amazing sound experience for everyone on Summit Park’s Great Lawn was a top priority for Cincinnati Opera this season. Tell us about the sound design.

I wanted the entire venue to sound like it was a concert hall. So, I had to look at coverage across the entire field—450 feet deep and 250 feet wide. Getting clear vocals across the lawn was the initial focus so that everyone had a great experience. Then we looked at how to add surround speakers in an inconspicuous way, so the illusion of reverb was built into the sound system from the start.

The challenge of COVID meant the musicians, singers, and chorus were separated more than they might have been in normal circumstances. So, each person has a close microphone on their instrument, and each chorus member is on their own microphone, which is not typical. Getting it to sound musical and cohesive was top priority.

The L-Isa system from L-Acoustics that you’re using allows you to create an almost immersive soundscape for audience members. Can you offer the non-technical version of how that’s accomplished?

I am using an L-ISA processor, which is an object-based immersive system. What that means is we treat every sound as its own source and place it in the “space” of the sound system. So, for example, a harp plays down toward house left as you look at the stage, so it is placed in the soundscape there. Each sound has an individual sound “object” that we place around the space. It is achieved by the processor taking each sound and calculating its relationship to all the speakers in the system in terms of distance and tonal quality.

We then use what is called a room engine to create a very natural sounding reverb that the individual sounds also feed into. An object farther away in the soundscape sounds exactly specific to where the musician plays onstage. In total, we have close to 90 individual sources being processed this way—even Evans’s microphone for his preshow speech is sourced to the exact location on stage where he stands!

L-Acoustics was really excited about this project and gave a lot of support during the planning stages, even sending two application engineers to help get everything dialed in. It was wonderful.

What are the most important considerations when designing sound for outdoor vs. indoor performances?

Creating a “room” is important because there are no acoustic reflections—other than unwanted ones off the distant buildings. The sound just travels until it dissipates. I had to think about creating positions for the speakers to hang in a venue that was just a concrete slab. Also, outdoors there is no natural buildup of low frequencies, so we need a tremendous amount of power and control to make instruments such as basses and timpani sound natural.

Because I have this overall sound illusion I am trying to create, I start to creep the sounds of the orchestra in about 10 minutes before the show starts. You hear everyone tuning and warming up in the correct sound environment, just as you would hear in a concert hall.

What is the biggest challenge of designing sound for outdoor opera?

Weather! In addition to the challenge of keeping lots of very expensive equipment dry when it rains, the varying temperature and humidity affect how sound travels at different frequencies. A daytime rehearsal might sound very different in the evening because of these factors. We have a weather probe on the computer with the system equalization on it that tweaks it slightly as the day goes on to correct for this change. Wind is also a factor that had to be considered in relation to the hanging speakers on the canopy as well as the blowing across sensitive microphones.

On a practical end, the distances needed to connect everything are huge. A cable run from stage left to the front of house is well over 500 feet. We had to use fiberoptic cables because that distance is over the specs of a normal cable. This also gives the benefit of keeping everything digital as soon as it leaves the stage.

Finally, sweat! This isn’t unique to outdoors but is greatly exaggerated with actors in heavy costumes wearing small microphones in July in Ohio. We have transmitters that are fairly waterproof, but there is always the possibility of sweat getting into the microphone itself. We have double mics on many of the performers but still have the possibility of sweating both out. The deck crew are running around working to mitigate this challenge throughout the show.

One thing audiences might not know is how much of the equipment gets set up and taken down each day: the entire front-of-house mix position, which has the console, four computers, six screens, and several processors. The subwoofers and front-fill speakers get turned over and packed up, the main speaker arrays get lowered to the deck, and the cables to the surround speakers all get pulled and packed up. All the orchestra and chorus microphones onstage get taken down. This setup starts at 2:30 p.m. for an 8:30 p.m. show so we have time to patch it all and test it before the evening performance.

By the Numbers

Cincinnati Opera’s sound system for Summer at Summit includes:

• 60 flown speakers on the towers and canopy

• 16 subwoofers on the floor in front of the stage

• 9 front-fill speakers on top of the subwoofers

• 6 surround speakers hidden on the park lighting poles

• 15 monitors around the stage and backstage

• 16 wireless microphones

• 36 headsets and transmitters

• 45 orchestra microphones/inputs

• 36 chorus microphones

• 12 QLab inputs for various sound effects

• 120 total inputs on the mixing console

Summer at Summit, our reimagined open-air festival, takes place this July 17-31 at Summit Park in Blue Ash, featuring performances of Carmen, Tosca, and The Barber of Seville. Few tickets remain—order today!

J’Nai Bridges

As Carmen in Carmen

• Summer at Summit: The superstar mezzo makes her Cincinnati Opera debut as the title heroine in Bizet’s Carmen.

• Acclaim: Where to begin? Bridges has been praised by The New York Times, Opera News, Variety, The New Yorker, Billboard…the list goes on. Read it all here.

• If the shoe fits: You can see Bridges in the 2021 Converse All-Stars Campaign!

• Learn more: Get to know J’Nai.

Ana María Martínez

As Floria Tosca in Tosca

• Summer at Summit: Martínez makes her Cincinnati Opera debut as Tosca, the titular opera diva in Puccin’s Tosca. Better get your tissues ready for her “Vissi d’arte.”

• Acclaim: Opera News says, “Her soprano harks back to the golden age. Her range is even, from a dusky chest-voice through a claret-colored middle and up to radiant top, and is as impressive in its quiet moments as it is at full power.” Read (a lot!) more praise of Martínez.

• Cover girl: Check out the June issue of Opera News—you’ll see a familiar face on the cover!

• Learn more: Get to know Ana María.

Janai Brugger

As Micaëla in Carmen

• Summer at Summit: Brugger returns to Cincinnati Opera to sing Micaëla in Carmen.

• Past Cincinnati Opera appearances: She stole our hearts as Susanna in our 2019 The Marriage of Figaro, and her “Summertime” gave us chills in Porgy and Bess that same year.

• On the screen: If you watched HBO’s Lovecraft Country, you may have heard Brugger’s voice in the penultimate episode. It closed with Brugger singing “Tulsa, 1921: Catch The Fire,” an original song created for the show.

• Listen up: Brugger discussed balancing motherhood with her opera career, the first time opera gave her goosebumps, and more on Cincinnati Opera’s Inside Opera podcast.

• Learn more: Get to know Janai.

Rihab Chaieb

As Rosina in The Barber of Seville

• Summer at Summit: Chaieb gets to cross off one of her “bucket list” roles with us this summer, singing her first-ever Rosina in Rossini’s The Barber of Seville.

• Past Cincinnati Opera appearances: The rising star “earned the evening’s biggest ovation” (Cincinnati CityBeat) in our 2019 The Marriage of Figaro with her laugh-out-loud portrayal of Cherubino, a lusting page.

• Acclaim: Chaieb has been praised for her “magnetic presence and opulent voice”(Opéra-Online), “luxurious singing” (Opera Magazine), “rapturous voice, full of lush colors” (Schmopera), and much more. Read it all here.

• Learn more: Get to know Rihab.

Catch these opera superstars and more at Summer at Summit, this July at Summit Park in Blue Ash!

Cincinnati Opera: A Centennial Celebration, our new keepsake publication, features dozens of beautiful photos, including never-before-seen historical and backstage views. Scroll for a peek behind the scenes, and see more in the commemorative book, available now through Cincinnati Opera’s online Bravo Shop.

Photos by Philip Groshong

See more in Cincinnati Opera: A Centennial Celebration.

In Cincinnati Opera: A Centennial Celebration, Fred Plotkin, one of America’s foremost opera experts and the author of Opera 101: A Complete Guide to Learning and Loving Opera, summarizes the elements he believes coalesced to cement the company’s role nationally and internationally. His is one of eight essays and hundreds of photos you’ll find in the commemorative book, available now through Cincinnati Opera’s online Bravo Shop.

Built to Last

By Fred Plotkin

As Cincinnati Opera celebrates its centennial season, this illustrious company has a huge amount to be proud of, not only for its decades of accomplishments and innovation, but its acknowledged place in today’s opera firmament.

As a New Yorker, and someone who has worked at the Met, La Scala, the Lyric Opera of Chicago, Covent Garden, and many top opera companies elsewhere, I have the means to compare them to Cincinnati Opera. I have long admired this company and have spent a considerable amount of time pondering what elements conspired to make this institution so special, in comparison not only to American opera companies, but also some in Europe. I have concluded that Cincinnati Opera, like the city that created it, is rooted in old, enduring values that prize art, culture, tenacity, and optimism. In our era in which ideas and meaning have trouble taking root in shifting cultural sands, those Cincinnati values form a foundation that combines respect for the best of the past with the desire to create meaningful new art for our own times.

Cincinnati has traditionally been an important cultural center. The arts—especially music—have had widespread support from citizens, public officials, and corporations who understand that a strong cultural presence makes the city a better place to do business in and attract talented workers to. When I talk to natives of Cincinnati, whether they are opera lovers or not, they all seem to have an awareness and civic pride in this company and their city’s history as a bastion of culture….

A secret to Cincinnati Opera’s success, whether it was intended or not, was that its performance seasons were concentrated in a period from late spring to midsummer. In effect, it was an opera festival, the first of its kind in the nation. This came about because, after the Met ended its New York season and then its national tour, many of its talented singers and conductors wanted to perform at a time when the only other permanent company where they could make music was in Cincinnati. World-class musicians, and many stars, appeared in Cincinnati. In turn, local audiences became highly discerning because they knew what real talent was.

The winning combination of great musical institutions, outstanding performers, and a knowledgeable and demonstratively appreciative audience created an environment in which a new opera company could take root and flourish even in challenging times....

Despite increased competition, Cincinnati Opera continues to attract some of the finest singers, many of whom regularly grace the most important opera houses in the world. This is a huge achievement and speaks to the continued high regard with which the company continues to be held.

Read the entire essay in Cincinnati Opera: A Centennial Celebration.

In Cincinnati Opera: A Centennial Celebration, Roger Pines, dramaturg of Lyric Opera of Chicago and opera expert, highlights some of the notable artists from Cincinnati Opera’s history. His is one of eight essays and hundreds of photos you’ll find in the commemorative book, available now through Cincinnati Opera’s online Bravo Shop.

Glorious Voices

By Roger Pines

When Cincinnati Opera began, notable summer opera companies were virtually nonexistent in this country. There was concert opera at Chicago’s Ravinia Festival, but except for The Muny in St. Louis, singers were left without significant summer opportunities for staged performances. Cincinnati Opera was a godsend, providing a venue for many of the greatest artists of the day. Today, a century later, the company continues its magnificent tradition of attracting the finest singers to Cincinnati.

Reading through the company’s performance annals, it’s fascinating to discover how many important artists were heard in repertoire unavailable to them in other major American opera houses. Very impressive indeed is the stylistic versatility certain singers exhibited during longstanding associations with the company. We can all take pride, too, in the fact that over the years, in a multitude of outstanding artists, so many have been American.

Below you’ll see photos of some of the incredible artists from Cincinnati Opera’s history.

Read the entire essay in Cincinnati Opera: A Centennial Celebration.

In the following excerpt from a new book celebrating our 100th anniversary, Cincinnati Opera: A Centennial Celebration, writer and Opera supporter Cynthia Starr offers a peek at our early outdoor roots. Hers is one of eight essays and hundreds of photos you’ll find in the commemorative book, available now through Cincinnati Opera’s online Bravo Shop.

Singing With the Seals

By Cynthia Starr

In 1920, the Cincinnati Zoo unveiled a groundbreaking new attraction. In addition to the beloved lions, elephants, waterfowl, and peacocks, the Zoo would showcase a rare subset of the human species: those who could truly sing. In a novel experiment that would launch a 50-year tradition and a 100-year institution, the Cincinnati Zoo Opera was born. Performances featuring renowned vocalists from around the world as well as musicians from the Cincinnati Symphony Orchestra drew a collective audience of more than 100,000 during the inaugural seven-week festival. As the Cincinnati Times-Star reported, the Opera’s debut season at the Zoo closed “with a history of success never before equaled by any attraction of that resort.” Indeed, all 42 performances had sold out. Opera in Cincinnati was off to a roaring start.

For the next 50 years—with only one exception—Cincinnati’s summer opera season took place at the Cincinnati Zoo. Those who attended remember it as a period of magic and romance, a time when couples of all generations and backgrounds mingled and the Zoo’s permanent residents contributed unscripted “songs” of their own. Patrons arrived wearing dark suits and gowns, while others rushed over directly from their workplaces. Families enjoyed picnic dinners on the grassy areas prior to the performances, and some brought small children, pushing strollers right up to their seats. Attendees purchased cushions and copies of the libretto from ushers and, once darkness had fallen after the first act, they followed the words with their flashlights. All were joined by a common bond: their love of opera.

“It had a carnival-like atmosphere, in a nice sense,” recalls Igor Dumbadze, a retired physician who served as an usher with his future wife, Jane, during the 1960s. “The festivity was what made it so enticing. It was informal. You could go out and walk around the Zoo and listen to the animals and have a beer. The animals bellowed. During a love duet, some seal or peacock would start blaring. But nobody got upset. It was part of the charm of opera at the Zoo.”…

Over the decades, the Zoo Opera enjoyed its status as a destination for music lovers of all ages. Charlin Devanney Briggs, an interior designer and longtime Cincinnati Opera trustee, remembers the Zoo Opera in the 1950s as central to courtship and romance. “You really knew a boy liked you when he invited you to the opera at the Zoo,” she recalls.…

For Charlin Briggs and countless others, participation by the Zoo’s permanent residents would become a beloved memory. Some observers speculated that the animals were irritated at being disturbed during the night. Or—more likely, in view of our growing understanding of animal intelligence—they were moved by some innate appreciation for the operatic voice. Whatever their motivation, the animals frequently joined the singers. None were more notorious than the Zoo’s own divas, the peacocks, which for years roamed free and fearless and seemed to have a natural interest not only in opera crowds, but also in the music.

“The animals were all around us,” Briggs recalls. “The most wonderful part was sitting there, as close as you could get to the stage, and the soprano—one of the great sopranos of our past—would be singing away, when the seals lifted their heads and kept in tune with the soprano.

“And not just the seals. Any of the animals that had a voice that they could lift in any measure would keep time. It was extraordinary. It was like the chorus. And it was such a joy to sit there and watch all of the wonderful things on the stage—the same wonderful things we see today on the stage—while surrounded by animals who could listen and join in. They absolutely sang along with the music. Now nobody will believe that. Everyone will think I’m telling a story. But anyone who went to the Zoo Opera will say, ‘Yes, you’re right. That is what happened, and that is a memory.’”

Read the entire essay in Cincinnati Opera: A Centennial Celebration.

On Tuesday, November 10, Cincinnati Opera lost a member of our artistic family. Bass-baritone Tom Hammons has died. In 10 seasons spanning nearly four decades of our company’s recent history, Tom sang no fewer than 12 roles with us and simply owned The Sacristan in Tosca. A graduate of CCM in the 1970s, Tom was a cherished pupil of the Italian bass Italo Tajo, who brought CCM’s opera program to an international level of excellence during his long tenure. Many considered Hammons to be Tajo’s artistic “heir” following in his teacher’s footsteps in many character bass roles, especially at the Metropolitan Opera in New York where Hammons sang more than 250 performances. Tom made his Met debut in 1996 in Tajo’s most famous role, The Sacristan.

In my own tenure at Cincinnati Opera, I had the privilege of inviting Tom to sing with us in seven seasons. There was of course, The Sacristan, but in my second season of 2007, we produced John Adams’s first opera Nixon in China. Tom reprised the role of Henry Kissinger, which he created at the world premiere in 1987. I was a bit in awe of Tom, but at the first rehearsal he put me at ease with a joke about his dynamic range: “You know, Evans, I can sing anything as long as it’s forte!” Nothing was further from the truth. Tom was an artist of great subtlety, but he was also a tireless prankster. I soon learned that in whatever opera we had Tom I would have to figuratively tie down the scenery, because Tom had that rare ability to walk away with whatever scene in which his character appeared.

His Cincinnati Opera gallery of roles included both Benoit and Alcindoro in La Bohème, Bartolo and Antonio in The Marriage of Figaro, Ortel in our 90th anniversary production of Die Meistersinger, and Simone in the hilarious production of Gianni Schicchi in 2012.

But it was in his signature role that Tom scared us witless. We created a beautiful new Tosca for 2016, the first of our two seasons at the Aronoff during Music Hall’s renovation. Tom would again be The Sacristan, the fourth time he would reprise the role for us. At the second-to-last rehearsal, Tom came on stage for his first scene. In it, The Sacristan fusses about Cavaradossi and listens as the tenor sings his first aria “Recondita armonia.” Tom did his usual great job but seemed just a bit unsteady on his feet.

A few moments, later I was summoned backstage where one of our Aronoff stagehands was urgently administering CPR to Tom. He had walked back to his dressing room and suffered a heart attack. A team of backstage crew, as well as a supernumerary (who also happened to be a celebrated surgeon), quickly went to work. The EMTs arrived shortly after and whisked Tom off to the hospital. Luckily, that quick action saved Tom’s life. Our beloved bass-baritone would make a full recovery and return to singing within the year.

Two years later as we were planning the 2019 season, my colleague Jane Hulburt had an inspired idea. We were planning a new production of Strauss’s Ariadne auf Naxos inspired by the life and legacy of Cincinnati’s Powel Crosley, Jr. Strauss’s opera calls for an officious Major Domo, master of the household, a speaking role. As we were doing the opera in English, we needed an especially good actor, comfortable around singers, a true musician. Jane suggested Tom! I was a bit hesitant to ask him, but I need not have worried. His manager replied in less than a day that Tom would be delighted to return in this role. Remember what I said about tying down scenery? Tom was hilarious. He achieved the near perfect balance between boorish superiority and comic befuddlement. He even managed a send-up of yours truly when he imitated my “announcer voice” introducing the second act of our production as a radio broadcast.

Sadly, Tom would have returned in summer 2021 as we have announced Tosca to close this coming season. I know I speak for all my colleagues and our stage crews when I say that we will miss him terribly. Our hearts go out to his wife Veronique and his daughters, Margot and Madeline.

Evans Mirageas
The Harry T. Wilks Artistic Director

Thomas Hammons as the Major-Domo in Ariadne auf Naxos (2019). Photo by Philip Groshong.

Thomas Hammons as the Major-Domo in Ariadne auf Naxos (2019). Photo by Philip Groshong.

Thomas Hammons as the Major-Domo in Ariadne auf Naxos (2019). Photo by Philip Groshong.

Thomas Hammons as the Major Domo in Ariadne auf Naxos (2019). Photo by Philip Groshong.

Thomas Hammons in rehearsal for Cincinnati Opera’s 2016 production of Tosca. Photo by Philip Groshong.

Thomas Hammons in rehearsal for Cincinnati Opera’s 2016 production of Tosca. Photo by Philip Groshong.

Thomas Hammons (right) and Marcello Giordani in rehearsal for Cincinnati Opera’s 2016 production of Tosca. Photo by Philip Groshong.

Tom Hammons (standing, second from left) and the cast of Cincinnati Opera’s 2012 production of Gianni Schicchi. Photo by Philip Groshong.

Tom Hammons (right) and Catherine Keen in Gianni Schicchi (2012). Photo by Philip Groshong.

Tom Hammons (right) with Catherine Keen and Edgaras Montvidas in Gianni Schicchi (2012). Photo by Philip Groshong.

Rudolph Bing was an Austrian opera impresario (producer) who worked around the world. He notably served as the General Manager of the Metropolitan Opera in New York City.

The first (old) Metropolitan Opera House in New York was located on Broadway but was demolished in 1967. The current (new) Metropolitan Opera House is located in Lincoln Center in the Upper West Side.

La fanciulla del West (1910) is an opera by Italian composer Giacomo Puccini.

Hochschule für Musik und Theater Hamburg (Hamburg College for Music and Theatre) is a large public university of music in Hamburg, Germany.

Rolf Liebermann was a Swiss composer and music administrator who served as the Artistic Director of the Hamburg State Opera and Paris Opera.

Judith Blegen is an American operatic soprano.

La voix humaine (1959) is a one-act opera by 20th-century French composer Francis Poulenc.

In July 1980, a 30-year-old violinist named Helen Mintiks was murdered during the intermission of a performance at the Metropolitan Opera. Read more here.

Guarino refers to “Jimmy,” or James Levine, a Cincinnati-born opera conductor who became the Music Director of the Metropolitan Opera. He was notably terminated from this position in 2018 over sexual assault allegations that he denies.

John Dexter was an English theatre, opera, and film director. Guarino mentions his production of French composer Francis Poulenc’s opera Dialogues des Carmélites (1956).

Franco Zeffirelli was an Italian director and producer of opera, films, and television. Many of his opera productions are still in use today around the world.

Margarete Wallmann was a German ballerina, choreographer, set designer, and opera director.

Rhoda Levine is an American opera director, choreographer, and professor.

Francesca Zambello is an American opera and theatre director who currently serves as director of the Glimmerglass Festival and Washington National Opera.

Ricky Ian Gordon is a contemporary American composer.

Fiora Contino was an American opera conductor and teacher.

Jean-Pierre Ponnelle was a 20th-century French opera director and scenic designer.

Dawn Upshaw is an American operatic soprano.

Robert Wilson is an American experimental theatre director and playwright.

The 19th-century Viennese composer W.A. Mozart frequently collaborated with librettist Lorenzo Da Ponte, such as for their opera The Marriage of Figaro (1786).

Blind Injustice was an opera by composer *** and librettist *** which premiered at Cincinnati Opera in 2019.

Patricia (“Patty”) K. Beggs was the General Director of Cincinnati Opera from 1997 to 2019.

Opera Fusion: New Works (OF:NW) is a partnership between Cincinnati Opera and the University of Cincinnati College-Conservatory of Music focused on fostering contemporary American opera.

In 2011, Doubt by composer Douglas J Cuomo and librettist John Patrick Shirley became the first project workshopped by OF:NW. The opera premiered at Minnesota Opera in 2013.

Fellow Travelers by composer Gregory Spears and librettist Gregory Pierce is another opera that participated in OF:NW in 2013. Cincinnati Opera premiered the work in 2015. Hear Fellow Travelers composer Gregory Spears talk about the work on a previous episode of Inside Opera.

Castor and Patience by composer Gregory Spears and librettist Tracy K. Smith participated in OF:NW in 2019. Cincinnati Opera will premiere the work as part of its 2021 Summer Festival. Hear Castor and Patience composer Gregory Spears talk about the work on a previous episode of Inside Opera.

Rachel Maddow is an American television program host and political commentator, known for the nightly Rachel Maddow Show on MSNBC.

Joni Mitchell is a critically acclaimed Canadian singer-songwriter.

Bob Dylan is a Nobel Prize-winning American singer-songwriter.

Today is a landmark day for all of us who love Cincinnati Opera. It is the last official day for Patty Beggs, our incredible colleague of 35-plus years and leader of the company for at least twenty of them. Patty handed the reins of leadership over to Chris Milligan in March, but has stayed with us in an emerita capacity until today. She will continue hold the title of General Director Emerita, but now she can observe and support as she chooses!

As someone who is often called upon to render tributes, this is one time when I am at a loss as to how to begin. Patty has been the most important, most valuable, most cherished boss I have had in nearly fifty years of working in music. It has been a privilege to call her “Boss,” to trust her judgment in all matters, and to learn every single day from her how to be a better leader, a better listener, and simply a better human.

The art of opera in America has benefited immeasurably from her, as well. Patty has served on the OPERA America board and has offered quiet guidance and counsel to scores, if not hundreds, of colleagues over the years. Along with another long-time staffer Tracy Wilson, Patty led the charge thirty years ago to awaken our company and opera in general to the need for more diversity in all areas of our endeavor—on our staff, on our board, in our audience, and on our stage. She is also the most self-effacing, generous leader, always wanting the spotlight to shine on others, knowing that if they do well, she will too.

I have watched Patty closely for fifteen years. She never shied away from the tough decisions. We weathered the economic crisis together, the massive effort required to renovate Music Hall, and most recently, the ramifications for our company and for all the arts of the need for greater social justice.

Patty would have had major celebrations in her honor this summer had it not been for COVID-19 and the loss of our season. So, it has been a muted farewell, and this has been painful for all of us. But Patty has left us in good hands with Chris Milligan, hired by her almost 20 years ago in a junior position. Like so many other women and men in our profession, Patty mentored Chris and the results are self-evident.

We called each other “The Two Harrys.” She and past board president Cathy Crain worked hard to persuade the great Hamilton, Ohio philanthropist Harry T. Wilks to endow the position I hold. More recently, Cincinnati Opera’s past president and extraordinary benefactor to so many good causes Harry Fath endowed the position of General Director. So, we “Two Harrys” worked side by side. Our respective spouses were patient opera season widowers as Patty and I spent nearly every waking hour in May, June, and July in Music Hall.  We would buck each other up, bicker over the fine points of supertitles, costumes, wigs, and makeup, and laugh and cry with joy when it went well.

I will miss her presence, her laugh, and that way she could look over her glasses and down her nose when she knew you were trying to pull a fast one! I will miss her sense of style and the good-natured way she took our ribbing over her obsessions with shoes and handbags. But she and her beloved Jim Beggs will now have time to enjoy summer evenings together. I have no doubt that Patty’s next professional chapter is just around the corner and that Cincinnatians will continue to benefit from her wisdom, compassion, and drive. Long may you wave, my dear Patty!

Evans Mirageas
The Harry T. Wilks Artistic Director, Cincinnati Opera

Patty Beggs meets Cincinnati Zoo’s Angel the cheetah on a photo shoot to promote Cincinnati Opera’s 1985 production of Aida.

Beggs speaks at a 2017 donor event.

Patricia Corbett (left), renowned Cincinnati arts patron, was an important mentor for Beggs.

Patty and her husband Jim Beggs have been married for 45 years.

Patty is photographed at a Cincinnati Opera fundraiser with Jerry Springer, former Cincinnati mayor and television host.

Patty Beggs speaks with legendary soprano Beverly Sills.

These days Samantha Reno is an accomplished scenic designer, and we had the pleasure of knowing her when she was just starting out. Samantha joined Cincinnati Opera as an intern in the props and paint department in 2007, and in this interview she describes what she learned in our scene shop, the ways her career has flourished since then, and what she can tell you about nearly a thousand years of genealogy.

What university did you attend, and what was your major?
I attended Northern Kentucky University as a double BFA major in graphic design and scenic design from 2002-2008. When I began, it had been my intention to pursue graphic design as my main career path, with theatre being something I did as a side hustle, but by the time I was in my third or fourth year, I had realized that I loved working in a scene shop with my hands and a plethora of materials rather than sitting at a computer all day.

Even so, I don't think I would be as successful without my graphic design background, and so I simply refocused my studies on exhibition and environmental design, which largely complimented what I was doing in scenic design. Studying both gave me an arsenal of tools and skills at my disposal, no matter what the project. For that I am grateful and can honestly say I use both my degrees every day in some capacity.

When did you intern for Cincinnati Opera, and for what department?
I interned for CO the summer of 2007 in the props and paint department, it was one of the best jobs I ever had. I felt like a fish out of water because grand opera is a lot like theatre on steroids, but just having the privilege of watching the process and being a small cog in a huge machine proved invaluable. The internship began to train my eyes to be more sensitive as an artist and refine my choices as a designer — you just don't know how it's going to shape you until just the right amount of time has passed. It has been a journey since then, but I always credit my time at CO as some of my most formative years.

How did you learn about the internship at Cincinnati Opera?
I had a friend who did an arts administration internship a couple of years before me. She invited us to one of the public dress rehearsals, and I was instantly smitten with Music Hall and the mystique of the culture surrounding opera.

Were you interested in opera before interning?
Yes, but no one in my circle growing up had any connection with opera, so in some ways I was lucky to “fall into it.” I had a very minimal background in music (I certainly couldn't tell the difference between Puccini and Verdi back then) but I knew that I liked what I heard! I was very aware that I didn't know much about opera, just that the aesthetics of the art form were up my alley.

What was the first opera you saw?
The first opera I saw was a double bill: The Emperor of Atlantis and The Maids.

What is the first opera you worked on?
The first opera production I worked on was Faust. It is still one of my favorites.

What is your favorite opera?
It's a tie between a classic opera and a contemporary one. My favorite classic is La Traviata and my favorite contemporary opera has to be Florencia en el Amazonas. In both cases the final arias are just heart-stopping! Combined with the lighting, scenery, and the singers' staging, it is pure magic.

What’s your favorite show to work on that’s not opera?
Probably anything Shakespeare, although as a designer my strengths are in children's theatre because of the inherent freedoms to play with color, composition, and some old-fashioned theatre magic. However, like opera, Shakespearian productions have a way of reinventing themselves; you can arrive at multiple solutions that look vastly different all for the same production.

Do you have a favorite memory as an intern?
I don't have a specific favorite memory, just that I loved the camaraderie between the crew of the paint and props departments, including the practical jokes and harmless pranks we played on one another. One was played on me involving a fake wooden eye; and trust me, it is still hysterical thirteen years later. Everyone's ability to maintain their sense of humor even at the busiest points of the season took the edge off and made for a fantastic summer with my supervisor and coworkers. I was pretty shy, but I very much appreciated meeting everyone in different departments and becoming at ease with my own role.

What was the most challenging moment of your internship, and what did you learn from it?
Staying in my lane. Everyone who gathers at Music Hall is a world class professional with multiple lifetimes' worth of experiences, and while everyone comes to theatre in their own way and has their own skill set, it was important for me to stay back, observe, and learn when my impulse was to jump into everything. There was a time to speak up and contribute with my own knowledge, but mostly it was time to sit at the feet of teachers. Asking for help, never making assumptions, and expressing gratitude never hurt either!

Tell us about your career following the internship.
Following my graduation from undergrad in 2008, I resumed freelancing in scenic design and scenic artistry, which I had been doing throughout college, and kept myself busy and happily employed. Then I decided I wanted to travel and do theatre outside of Cincinnati. I have been fortunate enough to do both Summerstock in beautiful Colorado as well as a scenic design internship at the B Street Theatre in Sacramento, California. B Street offered me a resident design position at my internship's conclusion, and after a brief stint home where I lived a bit of life and got married, my husband and I moved to Sacramento in 2012 so I could do just that.

I ended up designing somewhere in the realm of 75 productions of varying scales and budgets in California, all the while maintaining ties to a handful of theatre companies in Cincinnati. At one point I was doing between 18-22 productions a year between the two states, and even had the opportunity to teach and mentor both recent college grads and high school students who wanted to pursue technical theatre professionally.

We moved back to Cincinnati in December 2019 for family, but I remain an associate designer for B Street Theatre and travel on occasion to Northern California for work in Sacramento and nearby University of California, Davis. In the meantime I intended to go back to freelancing here, but I took a wonderful opportunity to be a designer-in-residence for the Cincinnati Shakespeare Company, which I am looking forward to this year, as well as getting reacquainted with the theatre community in this city! I have lots of projects in the works!

What advice would you give to students going into the workplace?
First, you can take responsibility and forgive yourself for your mistakes at the same time. Second, it is just as important to figure out who you do not want to be as it is for you to figure out who you do want to be. Third, find the joy in what you do and make a point to share it with everyone, especially with those who know nothing about theatre or opera.

Tell us a fun fact about yourself.
I have traced a portion of my family history back to the Battle of Hastings and the French-Norman invasion of 1066 under William the Conqueror.

Fugues are a musical composition technique in which a melody is blended with other melodies, usually in complex ways. German Baroque composer J.S. Bach is notable for having written many collections of fugues.

Early in his life, Spears studied music theory and composition with prolific American composer and educator Adolphus Hailstork.

Pietà (Pity) is a statue by Italian Renaissance artist Michelangelo Buonarroti currently housed in St. Peter’s Basilica, Vatican City.

Anton Webern was an Austrian avant-garde composer of the early 20th century.

Tracy K. Smith is a Pulitzer Prize-winning American poet and former Poet Laureate of the U.S.

Charles Jarden was the former General Director of The American Opera Project.

Troubadours were composers and singers of lyric poetry during the High Middle Ages (12th to 14th centuries).

The Requiem in D Minor is an unfinished work by W.A. Mozart who passed away before it was completed.

Plainchant (sometimes called “Gregorian chant”) is a liturgical musical style used historically in the Western Church (and now mainly in the Catholic Church) for singing texts to a congregation. In this style, the text is sung on one unaccompanied melody.

Hot yoga is a modern yoga-inspired exercise where typical yoga sequences are performed under hot and humid conditions.

Joan Panetti is a pianist, composer, and Professor of Music at the Yale School of Music.

Ta-Nehesi Coates is an American author and essayist who generally focuses on the subject of race relations in the United States. One of his best-known essays is The Case for Reparations.

Seeing the Body is a book by poet and photographer Rachel Eliza Griffiths.

Revolutions is a podcast which explores political revolutions throughout history.

The Criterion Collection is an American video distribution company focusing on “important classic and contemporary films.”

Stevie Wonder is a 25 Grammy Award-winning American singer, songwriter, musician, and record producer known for tracks such as his 1970 “Signed, Sealed, Delivered I’m Yours” and his 1972 “Superstition.”

Brian Eno is an English musician and visual artist known for his ambient musical style and collaborations to rock, pop, and electronic music as well.

Arthur Russell was an American avant-garde cellist and composer.

Liz Wright is an American jazz and gospel singer.

Santiago del Estero is a province and city in northern Argentina.

Lima is the capital and largest city of Peru.

Carlos Gardel was a French Argentine singer notable for his tango compositions and hundreds of recordings of tango pieces.

Loons are aquatic birds found in North America and northern Eurasia.

The Peruvian panpipe (Andean panpipe or siku) is a traditional flute-like instrument associated with music from the Qullasuyu region of the Andean Mountains of South America.

Ella Fitzgerald was one of the best-known American jazz singers of the 20th century.

Frank Sinatra was an American singer and actor who is one of the best-selling musicians of all time.

Fred Astaire was an American dancer, singer, actor, and choreographer most noted for work in film and television.

Gene Kelly was an American actor, dancer, and director known for his lead roles in Singin’ in the Rain and An American in Paris.

Located near Lincoln Center in New York City, LaGuardia High School is a public magnet high school focusing in the visual and performing arts.

Marilyn Horne is an American mezzo-soprano and music pedagogue.

Matthew Epstein is a prominent artistic advisor and artist manager within the opera community.

Der Rosenkavalier is a frequently performed comic opera by German composer Richard Strauss.

A pants role (or trouser role) is a character which is performed by a woman in traditionally masculine clothing. Some examples of these roles include Cherubino from W.A. Mozart’s The Marriage of Figaro and Count Ottavio from Richard Strauss’s Der Rosenkavalier.

Dorabella is a principle soprano role from W.A. Mozart’s comic opera Così fan tutte.

Marnie is an opera by contemporary American composer Nico Muhly based on Winston Graham’s 1961 novel by the same name. Notably, Alfred Hitchcock directed a film adaptation of the same novel. Leonard performed the title role in the U.S. premiere of the operatic adaptation at the Metropolitan Opera in 2018.

Coal Mountain is an opera by contemporary American composer Jennifer Higdon surrounding the American Civil War.

The Fach system is a method of categorizing singers’ voices into specific “types.” Not all musicians agree with every aspect of the system, however it is a commonly used tool for understanding the range, weight, and color of a singer’s voice.

Rosina is a principle soprano role in Gioachino Rossini’s comic opera The Barber of Seville. Leonard will perform this role in Cincinnati Opera’s 2021 Summer Festival.

Edith Bers was a member of the voice faculty at The Julliard School.

White Fragility is a book by Robin DiAngelo about systemic racism in the United States.

Trevor Noah is a South African comedian and political commentator known for being the current host of the satirical The Daily Show.

The Hardy Boys is a series of mystery novels for children written under the name Franklin W. Dixon.

Schitt’s Creek is an acclaimed Canadian television sitcom.

Gustav Meier was a Swiss conductor and professor of orchestral conducting at the Peabody Institute of Johns Hopkins University.

Elisabeth Schwartzkopf was a German-born soprano and is considered one of the top singers of the 20th century. In her performing career, she specialized in German-language art song (lieder) and Viennese operetta; later in life, she became an international renowned voice teacher.

Nana Mouskouri is a popular Greek singer whose extensive discography includes over 200 albums in at least twelve different languages.

English-Italian conductor Annuzio Mantovani led his own orchestra (the Mantovani Orchestra) in the mid-20th century and became famous in the “light music” style.

Mario Bernardi was a Canadian conductor and pianist.

Dale Bartlett was a Canadian pianist, educator, and collaborative pianist.

Vladimir Horowitz was a renowned Russian-born classical pianist who spent most of his life in the U.S.

“Il mio tesoro” is a famous tenor aria from W.A. Mozart’s opera Don Giovanni.

Beverly Sills was one of the most notable sopranos of the 20th century and, after retiring from singing, became the General Manager of the New York City Opera and later the Metropolitan Opera.

Renée Fleming is an actively performing American operatic soprano and the current Creative Consultant at the Lyric Opera of Chicago.

Franco Zeffirelli was an Italian director and producer of opera, films, and television. Many of his opera productions are still in use today around the world.

Yannick Nézet-Séguin is a Canadian conductor and pianist. Currently, he is the Music Director of the Metropolitan Opera, Philadelphia Orchestra, and Orchestre Métropolitain in Montréal.

Hungarian pianist Franz Liszt set three sonnets by Italian Renaissance poet Petrarch to music in the collection “Tre sonetti di Petrarch” (“Three Petrarch Sonnets”).

The Brooklyn Academy of Music (BAM) is a performing arts center based in Brooklyn, New York.

Françoise Frenkel’s memoir A Bookshop in Berlin follows her escape from the rise of fascism in Germany and, later, her evasion from Nazi occupation in war-torn France.

Grey’s Anatomy is an American medical drama television series.

Kanopy is an online film streaming service specializing in classic, independent, and foreign films.

Duolingo is a Google-owned mobile application and website for studying foreign languages.

WhatsApp is a Facebook-owned mobile application for messaging and calling over the Internet.

Lefebvre enjoys eating at restaurant Red Feather Kitchen in Cincinnati.

Nico Castel was a tenor and notable language and diction coach.

Oscar Peterson was a famous Canadian jazz pianist and composer.

Martha Graham was a choreographer and American modern dancer whose technique is still taught around the world.

Soprano Adele Addison was an early voice teacher for Trevigne at the Manhattan School of Music.

Pulitzer Prize-winning American composer Ned Rorem occasionally observed Trevigne’s lessons with Adele Addison.

Tenor George Shirley and mezzo-soprano Hilda Harris were other early mentors for Trevigne.

Choral conductor Robert Shaw is notable for bringing black vocalists, like soprano Adele Addison and tenor Seth McCoy, to the spotlight from the 1940s through the 1970s.

During her senior year of high school, Trevigne sang the soprano solo in one of Gabriel Fauré’s most notable works Requiem.

James Gandre, the former Dean of Admissions at the Manhattan School of Music, is now the President of the School.

Early in her career, Trevigne sang under notable American conductor Julius Rudel.

Adele Addison gave Trevigne original manuscripts of the French composer, conductor, and pedagogue Nadia Boulanger.

George Szell, the former Music Director of the Cleveland Orchestra once famously noted: “The Cleveland Orchestra plays seven concerts a week, and admits the public to the final two. We do some of our best playing in rehearsals.”

Trevigne has worked closely with contemporary American composer Jake Heggie. She starred as Pip in Heggie’s operatic rendition of Herman Melville’s classic novel Moby-Dick.

A sitzprobe (German for “seated rehearsal”) is an opera or musical theatre rehearsal in which the vocalists sing with the orchestra—usually for the first time.

concert:nova is a contemporary music ensemble based in Cincinnati, Ohio.

Trevigne will perform the role of Patience in Cincinnati Opera’s world premiere production of Castor and Patience in the summer of 2021.

Trevigne frequently watches the English television dramas Grantchester and Father Brown.

Trevigne finds the following mobile applications useful: Gamechanger (for keeping tabs on her son’s baseball games), Beachbody (for exercising), and Stash (for investing).

Trevigne enjoys eating at Conscious Kitchen in Cincinnati because they accommodate her alkaline vegan diet—a diet which does not allow any animal products, processed foods, coffee, and most grains.

Outside of classical music, Trevigne listens to hip-hop (she mentions the artist Drake) and country music.

Sam Kerns first joined Cincinnati Opera as a School for Creative and Performing Arts (SCPA) trainee in 2016—read all about his trainee experience here—and it didn’t take long for him to find what he calls his “second family.” Sam came back to join us as a directing intern in 2019 to continue pursuing his passion (and inspiring us with his fashion). Read on to hear about Sam’s internship experience!

What university did you attend, and what was your major?
I am currently attending the Theatre School at DePaul University where I major in theatre studies with a concentration in directing.

When did you intern for Cincinnati Opera, and for what department?
Most recently, I served as the directing intern for Blind Injustice in 2019. My first experience working at Cincinnati Opera was in 2016 when I participated in the Opera Technical Theater Apprenticeship Program as a School for Creative and Performing Arts (SCPA) student. The four-week program provides real-world, professional training while on the job. (Read more about my trainee experience here.)

Were you interested in opera before interning?
Extremely! I was always interested in different forms of art—whether it was dance, music, drama, design, or song. So when I discovered opera was a combination of these elements, I became an instant fan.

What was the first opera you saw?
Cincinnati Opera’s world premiere of Morning Star, in the summer of 2015.

What is your favorite opera?
If I must pick one, Tosca. This was the first opera I worked on professionally, and it’s how I fell in love with the art form. When rehearsal was over, I found myself listening to the score over and over again. Tosca has it all—history, tragedy, redemption, love, and gorgeous music. This opera will always hold a special place in my life.

What was your #1 takeaway from your internship?
I learned to cherish what it means to tell a story. During my internship I encountered a range of individuals who came from all around the world: artists and audience members offering a unique perspective on what it means to tell a story. Embracing someone’s story, whether it be onstage or off, is a form of advocacy, awareness, and appreciation.

Do you have a favorite memory as an intern?
The opening night of Blind Injustice. The sold-out theater overflowed with emotion, spirit, and love. There wasn’t a dry eye in the room.

What did you do after your time at Cincinnati Opera? What is the trajectory of your career path thus far?
To be honest, I can’t imagine a “time after” Cincinnati Opera. The staff provides me with constant encouragement and support. They are my second family. In terms of my career, I’m taking time to discover myself as a young professional. I love vintage shopping, seeing theater, and meeting new people who expand my view of what it means to be an artist.

What advice would you give to students going into the workplace?
Always find exciting opportunities to express yourself. It could be a funky bow tie or creating a short film; something that starts a conversation and says, “this is me.”

Do you have any organizational tips for students going into the workplace?
It might sound simple, but embrace a morning routine. Maybe meditation or journaling—an independent activity that works best for you. Finding time for yourself is essential.

What is a fun fact about you?
Aside from being an intern, I was a supernumerary for Cincinnati Opera’s 2018 production of Another Brick in the Wall. I played 6 different characters throughout the opera and felt like a superstar (even though I was in the background…).

Effron recalls a memory of seeing Giacomo Puccini’s grand opera La bohème with Licia Albanese at the Cincinnati Zoo.

Italian-born American conductor Fausto Cleva was the Musical Director of the Cincinnati Summer Opera from 1934 until 1963. He was also Effron’s “first hero.”

Sigmund Effron, David Effron’s father, was the concertmaster of the Cincinnati Symphony Orchestra from 1946 to 1973.

George Szell, Music Director and Conductor of the The Cleveland Orchestra, tried to recruit Sigmund Effron to join his symphony.

After a performance of Charles Gonoud’s Faust at Cincinnati Summer Opera, American tenor Eugene Conley honored Sigmund Effron by allowing him to bow by himself (a “solo bow”) due to the skill with which he played the work’s notable violin solo.

Sigmund Effron studied with Robert Perutz, a renowned Polish violinist who was based in Cincinnati.

James Levine is a conductor and accompanist from Cincinnati. He served as the Music Director of the Metropolitan Opera until he was notably terminated in 2018 over sexual assault allegations that he denies.

Josef Blatt was a professor of conducting at the University of Michigan School of Music, Theatre & Dance.

Famed conductor Tibor Kozma allowed David Effron to conduct operas during his graduate study at the Indiana University Jacobs School of Music.

Effron tells the story of one unfortunate performance of Giuseppe Verdi’s Rigoletto at New York City Opera featuring soprano Gianna Rolandi, mezzo-soprano Jane Shalos, baritone Richard Fredricks, and an unnamed tenor.

A Hochschule is an institution of higher education within German-speaking countries.

Effron served as the assistant to German conductor Wolfgang Sawallisch at Cologne Opera.

Hugh Thompson and Tito Capobianco were both notable opera directors, though Thompson was better known as a lyric baritone with 238 performances at the Metropolitan Opera.

Beverly Sills, Plácido Domingo, and Norman Treigle all performed in a production of Jacques Offenbach’s The Tales of Hoffman at New York City Opera.

Hamilton: An American Musical is a Pulitzer Prize-winning musical by Lin-Manuel Miranda about the life, career, and death of American Founding Father Alexander Hamilton. Musically, it pulls from genres as varied as hip hop, R&B, pop, soul, and traditional show tunes.

Benita Valente is a renowned American soprano from California.

WhatsApp is a mobile application popularly used for text messaging and calling in countries outside of the US.

In two memorable visits over the summer, several Cincinnati Opera staff took a break from their regular office hours in order to engage with children at the Community Center within the Villages at Roll Hill, a  community of government-subsidized housing located in Cincinnati’s East Westwood area.

Mrs. Lisa Hyde-Miller, the community relations coordinator at the Villages at Roll Hill Community Center, works tirelessly to help residents overcome economic challenges. “Ms. Lisa,” as her community knows her, fundraises, applies for grants, and personally oversees community services such as a food pantry, access to computers and internet, and transportation to the grocery store in her 15-seat passenger van. Through her partnership with local organization Cradle Cincinnati, Ms. Lisa helped Roll Hill reduce its infant mortality rates in 2019, making the neighborhood one of only three in Cincinnati to achieve this reduction last year.

Jemannie Severson Luong, education manager for Cincinnati Opera, says that the visits to Roll Hill gave her a greater sense of community. “The work Ms. Lisa puts into building and uplifting her community really shows,” says Luong. “Not only does she know everyone by name, but she truly has a relationship with them. It gives new meaning to the community name, the ‘Villages’ of Roll Hill.”

Along with exploring Ms. Lisa’s impressive work, Opera volunteers also enjoyed a chance to play as they helped facilitate a “field day” of socially-distant outdoor activities in one visit and bagged candy to share in another. “Helping Ms. Lisa was an absolute pleasure,” says Cincinnati Opera’s music coordinator Alyssa Mehnert, a participating volunteer. “It was fun to get out of the office and laugh along with the children.”

Cincinnati Opera staff returned to Music Hall recharged and full of ideas on how to connect to the greater Cincinnati community. In Luong’s words, “The volunteers of Cincinnati Opera were lucky to spend the day here, and we look forward to future volunteer events and our continued partnership.”

Connie Grubbs began her internship with Cincinnati Opera in 2002, and has spent her summers stage managing with us ever since. Read about how Connie discovered her true calling to stage management, and which favorite Cincinnati Opera memory involves banana ice cream!

Want to hear more from Connie? Listen to her 2017 interview in our Inside Opera podcast. Available on Apple Podcasts and Spotify.

What university did you attend, and what was your major?
I have an undergraduate degree from Mason Gross School of the Arts at Rutgers University in Music Education (I was a singer, but hated performing). Then I completed my Masters in Theatrical Production and Design (with a concentration in Stage Management) from the University of Cincinnati College-Conservatory of Music (CCM). I honestly never thought I would get into CCM, but I’m grateful they took a chance on me and brought me to Cincinnati, which has now been my home for almost 20 years.

When did you intern for Cincinnati Opera, and for what department?
My intern year at Cincinnati Opera was the summer of 2002, where I worked in the rehearsal department with Tom Young. At that time, there was no stage management internship. I remember having a terrible time finding parking for my interview and almost being late!

How did you learn about the internship at Cincinnati Opera?
I was encouraged to apply to the internship by my advisor at CCM. Suellen Childs knew I was only interested in stage managing opera and it seemed like a logical step. Cincinnati Opera was the only internship for which I applied. I almost considered Chautauqua or Glimmerglass, but I really didn’t want to leave Cincinnati, which was already starting to feel like home.

Were you interested in opera before interning?
Absolutely! My undergrad degree was in music, and I just loved the idea of combining my music skills with stage management. In fact, because of my strong ability to read music, I was asked to call stage managers on the right measure of music on more than one occasion, even as an intern. There was one section of Dead Man Walking that was brutal for the stage manager to call and follow the music at the same time. The assistant stage managers were also busy, so I was called in to help follow that one section of the score. I had the favor returned when I called Another Brick in the Wall. The opening section was incredibly difficult to follow and call. I had to ask one of the music staff to be with me for those first 3 minutes…just in case.

What was the first opera production you worked on?
My very first opera experience was in undergrad at Rutgers. It was my sophomore year and I had signed up for opera class, which was basically a performance class. That year, they were producing two very small operas with no chorus (The Medium and Sorry, Wrong Number). As an undergrad soprano who didn’t really enjoy performing, there was no role for me, so they asked me to stage manage in order to receive credit. I loved it. I asked to stage manage for each opera after that.

Professionally, I worked at a teeny, tiny opera house in a converted barn in the village of Humbach, Germany just south of Munich. It was an opportunity offered to me by one of the voice faculty at Rutgers. I lived in a farmhouse with my best friend and it was an amazing experience.

What is your favorite show to work on that is not opera?
I loved my time stage managing at Ensemble Theatre Cincinnati; my favorite production was the musical Next To Normal. I also had the opportunity to stage manage a handful of musicals at CCM, with The Wild Party being a standout production from my non-opera experiences there.

What is your favorite opera?
This is a tough one for me, and there is also a distinct difference for me between my favorite opera for the sake of just the opera and my favorite productions. I am always drawn to new opera, but there are some classics I absolutely love. I’m going to go with a top 5, in no particular order: Rigoletto, Carmen, Fellow Travelers, Manon, A View from a Bridge, Anna Karenina, Nixon in China. Okay, that was more than five…

Do you have a favorite memory as an intern?
Oh my goodness, there are so many! I made lifelong friends that summer and found a professional home, so I’m going to go with something really banal. Banana ice cream. I was sitting in the backstage office I shared with Tom Young at Music Hall. One of the young artists (Michael Mayes) stopped by on his way to rehearsal for Dead Man Walking. He was carrying a cooler and plopped down in the extra chair in the office. With a grin, he asked if we would like any of his homemade banana ice cream. This is the perfect example of the kindness and family atmosphere at Cincinnati Opera. I knew it was a great opera company, but that moment also solidified for me that it was a great place to work and filled with amazing people of all kinds.

Tell us about your career path following the internship.
I’ve worked at Cincinnati Opera in some capacity or another every summer since my intern summer. I still had two years to go at CCM after my intern year, but Cincinnati Opera hired me the next summer as an Assistant Stage Manager for one show. Then the summer following my graduation from CCM, I was working there for two shows.

After graduation, I worked at Atlanta Opera for a few months, but then had the opportunity to move to New York City, where I worked with the Chamber Music Society of Lincoln Center for two years. (I guess I should mention that I used my vacation time from my job to work at Cincinnati Opera for those two years…) It turns out I missed opera terribly, so I started looking for opera stage management jobs. Since then I’ve worked at Florida Grand Opera, Washington National Opera, and the Lyric Opera of Chicago, all of which were great experiences.

I turned down a second season at the Lyric because I wanted to be in Cincinnati full time. I had a few gigs here and there until I started working at Ensemble Theatre Cincinnati, where I stage managed through two pregnancies, all the while spending my summers at Cincinnati Opera.

What advice would you give to students entering the workplace?
Be flexible. Nearly every opera company (or theater company) is different with different personalities, structures, ways of doing things, and company policies. Even union rules will differ from company to company. Be flexible and learn the company for which you’re working.

Ask questions and never be afraid of “looking dumb” or not knowing something. As an intern, you are there to learn and everyone you work with should know and respect that. Don’t be afraid of asking questions about how to do something or why it’s done that way. This is how you learn, but it’s also how we learn. It helps me keep perspective on your education and you might be the new dog teaching the old one new tricks. 😊

What is a fun fact about you?
I love mowing my lawn and gardening, but my house is a mess. I also make amazing margaritas.

Dramaturgy is the research involved to better understand a theatrical work before it is produced. While dramaturgy may be practiced by a professional dramaturg, often directors, designers, and performers participate in their own research to better inform their artistic decisions.

Tzykun designed a production of Franz Schubert’s Winterreise (Winter Journey, 1828), a set of German art songs for voice and piano. The singer in this production was baritone David Adam Moore, Tzykun’s partner. The two are set to record a film version of this production at Austin Opera in the coming weeks.

Before the COVID-19 pandemic, Tzykun had designed the world premiere production of Edward Tulane at Minnesota Opera. Moore was performing in Jake Heggie’s Dead Man Walking at the Hungarian State Opera at this time. However, like many live performing arts, these productions were cancelled in order to promote social distancing and reduce the spread of the COVID-19 virus.

Tzykun and Moore founded an New York City-based art collective called GLMMR.

Tzykun will design the set for Cincinnati Opera’s 2021 premiere of Castor and Patience.

Tzykun often reads Israeli author and “macro-historian” Yuval Noah Harari who wrote Sapiens, Homo Deus, and 21 Lessons for the 21st Century.

Recently, Tzykun has watched the television miniseries Unorthodox on Netflix which revolves around a Hasidic Jewish community in New York City. She listens to the podcast Artificial Intelligence by Lex Fridman about the connections between technology and humanity.

Tzykun notes that the following non-Classical artists are influential to her: film composer Nina Rota, Brazilian folk artist Cesária Évora, American singer-songwriter Erykah Badu, American hip-hop artist Lauryn Hill, Swedish electronic group iamamiwhoami, Canadian pop artist Grimes, Icelandic art pop artist Björk, and Early Music composers Claudio Monteverdi, Hildegard von Bingen, and Johannes Ockeghem.

When it comes to opera, accessibility is essential. Impactful programming extends well beyond the doors of concert halls, and flourishes inside libraries, schools, and community spaces. Embracing these principles is what determines the success of any artistic institution—so it’s comes as no surprise the Cincinnati Opera celebrates its 100th anniversary this summer. The company also excels in its ability to adapt. Whether it’s rain delays for Back to the Zoo or Opera in the Park, renovations at Music Hall, or a global health crisis, Cincinnati Opera prevails.

As the company transforms its centennial season to reflect public health measures, we’re seeing how adaptability and accessibility merge as one. Across multiple platforms the Opera remains committed to empowering all, despite our physical distance. In Cincinnati, opera becomes the community and the community becomes opera.

Most recently, I attended a remote program with renowned stage director Barrie Kosky. You may know Mr. Kosky best by his animated rendition of The Magic Flute, which delighted Cincinnati audiences in the summer of 2017. This year the acclaimed artist made his return to the Opera, but in a completely different way: The Zoom call. He phoned from his home in Berlin, where the local time was 11:00 p.m. (his love for opera transcends time zones) to discuss with us his Komische Oper Berlin production of Eugene Onegin. (watch the full stream here). Our conversation began with an overview of Kosky’s career and his aesthetic as a director. His style cannot be defined easily, for he approaches every project with a unique conceptual and critical eye. Perhaps Kosky’s directorial trademark is versatility; a variable guaranteeing not only creativity, but credibility when it comes to interpreting the classics.

The group then explored themes found within Russian literature and poetry and their influences on scenery, costumes, and lighting of Eugene Onegin. Mr. Kosky was more than willing to share behind-the-scenes elements of the opulent design, from theatrical rainfall to singers spooning jam into jars. I felt enlightened and uplifted as both an opera enthusiast and an aspiring stage director.

This call with Mr. Kosky proves opera is about conversation. Staff, board members, and supporters from all over the world joined together to share their love for a timeless art form. It’s a reminder that no matter what comes our way, these conversations will continue into the next 100 years and beyond.

Sam Kerns is a graduate of Cincinnati’s School for Creative and Performing Arts. He spent four summers with Cincinnati Opera as a trainee, intern, and supernumerary. Sam currently attends The Theatre School at DePaul University, where he is pursuing a BFA in directing.

The New Opera Showcase is a contemporary opera showcase sponsored by Opera America and Trinity Wall Street Cathedral

Candillari studied piano in Graz, Austria

Olivier Messiaen is a 20th-century French composer

Candillari’s grandmother performed the titular role in Georges Bizet’s Carmen at the Serbian National Theatre in Novi Sad, former Yugoslavia. Candillari was also born in this city, which is the second-largest city in present-day Serbia.

La Traviata is a grand opera by Giuseppe Verdi

Candillari studied jazz at Jacobs School of Music at Indiana University in Bloomington, IN

A Hochschule is an institution of higher education within German-speaking countries

At age six, she became “obsessed” with the operetta Die Csárdásfürstin by Hungarian composer Emmerich Kálmán

Franz Lehár’s operetta The Merry Widow takes place in the fictional state of Pontevedro, a thinly veiled reference to the real-life principality of Montenegro.

David Baker was the Director of Jazz Studies at Indiana University’s Jacobs School of Music

Evans references a concert he saw at Symphony Hall Boston with jazz vibraphonist Gary Burton & Handel and Hayden Society

Carnegie Hall (New York) and Wigmore Hall (London) are two well-known classical music venues

Candillari became the Head Coach at the Slovene National Theatre in Maribor, Slovenia

Così fan tutte is an opera buffa (a kind of comedic opera) by Wolfgang Amadeus Mozart

Recitative is a musical style primarily used in baroque and classical vocal music (namely opera and oratorio) that highlights narrative storytelling.

Candillari’s husband, Nick Schwartz, is the bass trombonist of the New York City Ballet.

Rusalka is an opera by Antonín Dvořák and was programmed as part of Cincinnati Opera’s 2020 season. Evans also references his Symphony No. 7 which was inspired by composer Johannes Brahms.

Contemporary opera Fellow Travelers by Gregory Spears references the music of French troubadours of the Middle Ages

Musical Composition: Craft and Art is a book by Alan Belkin

Mind Over Finger is a podcast about music performance.

W1A is a British comedy TV show

Arthur Rubinstein once famously noted, “Don’t practice too much.”

Seth MacFarlane, the creator of the adult animated TV series Family Guy, is also a jazz singer.

On May 28, 2020, Cincinnati Opera invited College Hill residents to take part in the first leg of its “Share the Love Truck Tour,” a series of special performances that spread the joy of opera while also collecting donations in support of a neighboring soup kitchen.

The “Share the Love Truck Tour” came about after the Opera was forced to cancel their 2020 season due to the COVID-19 pandemic, but still wanted to find a way to share music with the greater Cincinnati community. Cincinnati Opera’s Lori Hiltenbeitel expands, “As we pushed ourselves to really think about how we could be good neighbors and give of ourselves while also encouraging others to give back, it made perfect sense to partner with Our Daily Bread Soup Kitchen and Social Center, which is just up the street from our beloved Music Hall.”

Hiltenbeitel and her team built upon an idea she had seen work before. “At the beginning of the COVID crisis, I had experienced a truck performance in my own neighborhood in Northern Kentucky from a music teacher who was gigging around town in a safe, social distancing way, by performing from the bed of his truck.” She knew the idea could work for the Opera.

Once they had a concept, the Opera team needed an artist for their maiden voyage. “A member of our team suggested Christian Pursell as our first artist to perform,” says Hiltenbeitel. “He owns a very cool vintage truck, and also a stellar voice to go with that truck!”

Pursell, a bass-baritone, saw the value in the idea right away. “I think it’s important to share our music now because people need to un-bottle their emotions and connect with each other,” says Pursell. He continues, “Shared emotion is unifying and is part of the life-changing experience of going to the opera, or any concert venue. People are hurting, mourning, at the very least lonely, and connecting digitally while stuck at home isn’t enough.”

The Opera team also needed a driveway where Pursell could park his baby blue Chevy. College Hill residents Joanne and Carl Cornelius readily supplied the space, happy to help bring their neighbors together through opera. In Joanne’s words, “Art and music are wonderful mediums for people to connect, and they help us look at the past and be hopeful to the future.”

According to Pursell, the four pieces of music he performed were carefully selected to reflect the mood of the current times and take the audience on an emotional journey. “The ‘Toreador Song’ from Carmen celebrates people gathering and cheering the victor; we miss gathering, gripping hands and hugging,” he explains. “‘If Ever I Would Leave You’ from the musical Camelot can be interpreted as us saying, ‘We’re right here with you; we’ll never leave you; you’re loved.’ Our heavy-hitter was ‘Empty Chairs at Empty Tables’ from Les Misérables; 110,000+ have died officially due to COVID-19. Those lost are our friends and family—we are in shock and despair and this song cries out. Lastly, ‘Let It Be’ by The Beatles is an anthem we can all sing along to, knowing that answers will come, and when we pray and truly listen, words of wisdom will enter us.”

(Though the music lineup will change on future stops, the Opera plans to include a sing-along opportunity—in this case, “Let It Be”— to allow the community to join in the fun.)

Pursell says he could feel the joy from the audience. “Everyone seemed to have a great time and so many came up afterwards—socially distanced of course—to compliment the music and thank the team for bringing something special into their neighborhood!”

The performance gave College Hill resident Elizabeth Sherwood a new perspective on opera. “Christian Pursell, the opera singer, was young and fit—he did not resemble the stereotypical image of an opera singer,” says Sherwood. “I assumed he was just the guy who owned the truck… then he started belting out songs like Pavarotti. The audience was amazed.”

“It was a beautiful sunny day,” says Pursell, “and I couldn’t have been happier reuniting with my friends at Cincinnati Opera and working together to pull this off so well.”

Hiltenbeitel agrees that the first stop on the “Share the Love Truck Tour” was a success, and not only from a performance perspective—the community responded with generosity and kindness. Many audience members were surprised by the performance but returned to their homes to gather canned goods from their cupboards for the cause, fully packing two SUVs with their donations.

“The kindness, the hope, and the connection is a huge takeaway, and a beautiful win for us all!” exclaims Hiltenbeitel. “It remains at the core of why we are pushing ourselves to reach as many neighborhoods in as many communities as possible.”

College Hill was only the first stop on the “Share the Love Truck Tour;” other neighborhoods in the tri-state area in the works. Look out for more information on those performances soon—and as audience member Elizabeth Sherwood puts it: “Unless your neighborhood frequently offers first-class performances from Carmen from the back of a pick-up, this is an event not to be missed.”

About the Truck…

So what is the story of the “baby blue Chevy” that Christian Pursell used as his stage? “My truck was originally a Glenn County, CA government vehicle before I bought it in ‘07 for $700,” he says. “It’s been a journey rebuilding it and I’ve learned a whole lot, including the principle that vehicles should all be this easy to repair by their owners! It’s a great hobby. (Tip #1: check your rear end gear oil level before a cross-country trip to avoid breaking an axle like I did with all our stuff in a U-Haul trailer behind us.)”

First up: Teddy Gumbleton! Teddy began as an intern with Cincinnati Opera in 2010, and he never left. He has accomplished much during his ten years at the opera, moving up the ranks into the position of Director of Corporate & Foundation Giving. What’s his secret? A passion for the arts and a passing resemblance to Tamino from The Magic Flute. Read more of Teddy’s story!

What university did you attend, and what was your major?
I received a Bachelor's degree in Arts Administration from Butler University in Indianapolis.

When did you intern for Cincinnati Opera, and for what department?
I interned in the summers of 2010 (our 90th Anniversary!) and in 2011, both times for the development department.

Were you interested in opera before interning?
I was! In high school, I fell in love with theater, and wanted to learn more about opera as a result. So I began taking advantage of Cincinnati Opera’s student rush ticket program with friends and was hooked.

What was the first opera production you worked on?
The first performance of my 2010 season was our 90th Anniversary Concert. My first formal production was Die Meistersinger von Nürnberg.

What was the first opera you saw?
The first opera I ever saw was Cincinnati Opera’s Nixon in China in 2007.

What is your favorite opera?
Oh, there are so many contenders! But if I had to pick one, it would be our 2016 world premiere Fellow Travelers, composed by Gregory Spears with a libretto by Greg Pierce. It has a gorgeous and evocative score, a lyrical and insightful libretto, and a powerful, moving story, that is very         relevant to today’s audiences. It showcased how beautiful and visceral opera can be. Working at Cincinnati Opera while the piece was developed and getting to see audiences experience the piece for the first time is one of the great privileges of my life.

Do you have a favorite memory as an intern?
I have many, but the first that came to mind was from my second summer in 2011. My fellow intern (and still close friend) Annie and I were tasked with a social media contest called “Tamino on the Town.” I was dressed as Tamino, a character from The Magic Flute, and Annie took pictures of me at Cincinnati landmarks. The pictures were posted to Facebook and the first person to guess the location won tickets to The Magic Flute. We had a great time exploring the city together and it resulted in some hilarious pictures (see below).

What was the most challenging moment of your internship?
The most challenging part of my internship was managing the donor parking lot. I was in charge of checking donors into the lot and making sure everyone had space. The 30 minutes before each performance was always very stressful when most people arrived. That, plus the summer heat always made for an interesting experience?

What did you do after your time at Cincinnati Opera? What is the trajectory of your career path thus far?
I haven’t had a time after Cincinnati Opera yet! After graduating college in May 2012, I was hired as a development associate. In 2017, I was promoted to individual giving manager and in fall of 2019, I assumed my current role of director of corporate & foundation giving. They can’t seem to get rid of me.

What advice would you give to students entering the workplace?
It seems really basic, but embrace all tasks. There almost always is an opportunity to learn something from it and if you do them eagerly and efficiently, you will move more quickly to interesting projects.

What was your #1 take-away from your internship?
The biggest takeaway from my internship was being able to see ideas I had learned in a classroom happen in a workplace. It was one thing to learn something theoretically, but to experience it first hand was invaluable.

What is a fun fact about you?
The work of art that initially sparked my interest in the arts is Stephen Sondheim’s Sweeney Todd.

What’s your favorite opera album of all time? Let us know!

Zach Quortrup, Production Advisor

Strauss, Der Rosenkavalier

I’m a horn player, and this is peak Strauss horn writing…the singing is okay too, I guess! 😉

Favorite moment: Introduction of Act 1: It’s an iconic opening for any piece —opera or otherwise—and the horn part is so fun!

Kelly Holterhoff, Executive Assistant & Office Manager

Britten, Peter Grimes

This opera is a whole mood. It’s dark, tragic, and will have you looking out of your window and pretending to be a misunderstood, possibly murderous sailor gazing out at a stormy, English sea.

Favorite moment: Ellen Orford’s “Embroidery” aria will have you swanning around your apartment bemoaning today’s youth and all their frivolous TikToks.

Kate Brockmeier, Production Operations Manager

Gregory Spears & Greg Pierce, Fellow Travelers

This is a beautiful NEW opera, that tells a story of love and heartbreak, but it gives me hope. I was also fortunate enough to get to work on the workshops for this opera, and watch its development to its world premiere at Cincinnati Opera.

Favorite moment: “Our Very Own Home” (aka Hawk’s Aria) is an amazing piece full of honesty and tragedy and I love the music.

Glenn Plott, Director of Production

Wagner, Parsifal

I am using quarantine to enjoy the silence. However, my go-to is Parsifal, Herbert von Karajan conducting the Berlin Philharmonic, recorded in 1981.

Matt Singleton, Director of Information Technology

Puccini, La Bohème
Luciano Pavarotti and Mirella Freni

The album is from 1973, and features Herbert von Karajan conducting the Berlin Philharmonic. It is my favorite because the score is so gorgeous and the libretto so poignant and touching.

Favorite moment: “O soave fanciulla”

Evans Mirageas, The Harry T. Wilks Artistic Director

Leontyne Price, Verdi and Puccini Arias

Unsurpassed singing of these core favorites by an artist at the very beginning of a spectacular career.

Favorite moment: Verdi, Aida: “Ritorna vincitor!” This became Ms. Price’s “Warrior Role,” as she called it. She also chose it to bid farewell to staged opera—at the Metropolitan Opera on January 3, 1985.

Carlos García León, Individual Giving Manager

Rossini, The Barber of Seville

As someone who doesn't come from the opera world, I wanted to get familiar with our season. As such, I started with Barber and just loved how similar it is to telenovelas: the drama, the schemes, the hilarity, and the intensity of everything was just so alluring and fun to hear.

Favorite moment: My favorite aria is "Dunque io son...tu non m'inganni?" (“Then it is I…you are not mocking me?”) While "Largo al factotum" is a fan favorite, I like "Dunque" more because I am adamant in believing that Figaro is a bisexual icon and this aria with Rosina is the scene where she's entrusting her queer best friend to help her with love problems and where the scheming really begins, and trouble ensues soon after. Classic.

Mike Veroni, Chief Financial Officer

Verdi, Aida

I love grand, classic opera!

Favorite moment: The Triumphal March

We would love to hear about the opera albums you can’t stop listening to! Drop us a note any time.

The Zoo Opera Days

My mother took my three siblings and me to the Cincinnati Zoo to see Aida back in the 1960s. Our father couldn’t go because he had to work, but we excitedly gave him all the details when we returned home. It was a wonderful day, topped off with a couple of rides in the Dark House and the whirling swings in the Zoo’s amusement area, then our usual homemade family dinner.

—Loretta Dawson

Fallen in Love With Opera Several Times

I have fallen in love with opera several times in my life. My mother tells me that I first loved opera as a tiny child listening to the radio with my father. Mom said I would giggle and laugh at the high soprano notes as my father would explain what we were listening to in a very serious manner. Then, when I was 14 years old and I attended my first live opera at the New York Opera. I fell in love with La Traviata, and my life was forever changed. Then again, several years ago at Cincinnati Opera when I had the pleasure of attending several performances of Frida. This was another music-life changing event. I have always sternly only supported "the classics," but the genius of Frida opened by ears, eyes, and world to modern opera in a wonderful way. So I have fallen in love with opera as a continuous journey. Opera is truly the love of my life—I travel all around the USA and Europe from Florida to attend many operas a year, such is this love I have for opera.

—Nadia Greenidge

Generations of Opera Lovers

I fell in love with opera by listening to a collection of opera recordings that my father inherited from his father and by being taken to concerts by my parents when I was a kid. My father actually heard Enrico Caruso in person in 1922 in Havana when the Italian tenor in the company of several stars (Maria Barrientos, Riccardo Stracciari, Gabriella Besanzoni, José Mardones, Tulio Serafin) came to do Aida in Havana by the invitation of President Menocal.

My father and his oldest brother traveled by train from Santiago and when they got there all performances were sold out. Upon learning that a huge crowd of disappointed fans had gathered in the Paseo del Prado fronting the theater, Caruso ordered the side and front doors of the theater opened so that the crowd gathered in the promenade could enjoy the opera for free.

My father used to tell how he was able to hear every note Caruso sang that night. Between hearing stories like that one and torturing our neighbors by playing over and over recordings of Caruso and Ruffo and Schipa and Gigli and singing along with them, I grew up loving opera. I was hooked for life when in 1957 Renata Tebaldi came to Havana to sing in the same two-week mini-season La Traviata, Adriana Lecouvreur, and Aida.

I never got cured.

—Rafael de Acha

Opera Kept Calling Me Back

I have been going to the opera in Cincinnati for many years. I would see one a year. Probably my favorites were Aida and Dead Man Walking.

A few years ago I went to two, then the next year three. Last year during Porgy and Bess, I realized I was in love with all of it. I realized the joy I had been experiencing over the years. Thinking about it I am filled with joy.

I think opera kept calling me back until I could not deny my passion.

—Eileen Lee

A Teacher’s Impact

When I was in the second grade, I hung out a lot with the school librarian. I loved to read, and she loved having someone who felt that way.

She was also the school music teacher. She found out pretty quickly that I loved to sing. My mother had taught me all of the traditional songs before I even started school, so when we were in class for the first time, I realized I knew everything the music teacher had pulled out for us. She asked, “Who is it in the back that is singing out so loudly?” I shrunk into my seat, and all my friends, like typical second-graders who could smell the blood in the water, pointed at me and shouted, “It’s Jill!”

She asked me to stand up and then gave me the once-over. She asked, “Do you know these songs?”
“Yes’m,” I whimpered.
“Would you like to come down in front of the class and like to lead us in them?”
“YES MA’AM!”

She found out a couple of things right then and there: (1) I could sing on pitch and I was loud, and (2) I loved an audience.

One day, when she and I were the only ones in the library, she called me over and asked if I liked to play play pretend. “Yes, ma’am,” I replied. She said, “Well, I know you like to sing and I also know you like to perform, so listen to this.” She got her little box record-player and pulled out an LP. As she got the record going, she gave me the album cover to look at. All sorts of fantastical creatures were on it. I was enchanted.

Then the music started. I had never heard such singing! I couldn’t get enough of it! It was Mozart’s “Queen of the Night” aria from The Magic Flute. When it was over, she stood there and looked at me. Then she said, “This is opera. When you grow up, you’ll be able to sing like this, too.”

I’ll never forget that moment. It changed my life forever. I did grow up to sing opera (not the Queen, though—more Puccini). Knowing Mrs. Cope was the best thing that ever happened to me. RIP, Mrs. Cope.

—Jill Dew

The Sound of Peacocks

I fell in love with opera as a child at the Cincinnati Zoo Opera. My mother and grandfather took my sisters and I for picnics and performances every summer season. I will always associate the sounds of peacocks and cicadas with opera, and although I appreciate an air conditioned environment and more comfortable seats, no opera setting stays in my memory as much as those evenings at the zoo!

—Marcia Hartsock

A Year in Rome

I spent a year in Rome studying vocal music with a Italian tenor and have loved opera ever since.

—Barbara H.

Starting Young

I first became entranced with opera at the age of 11, by listening to the 1961 Met Radio Broadcast of The Ring with Birgit Nilsson as Brunhilde. My mother encouraged me to listen, and I was absolutely fascinated by this magical music, and received a recording of “The Ride of the Valkyries” for a subsequent birthday. My family also regularly watched the Christmas broadcast of Amahl and the Night Visitors; we had a recording of that which we played over and over; my sisters and I memorized it, and used to sing parts (in harmony) while we were doing the nightly supper dishes!

My first live opera was Die Fledermaus at the Zoo when I was 13; I was too young and unsophisticated to “get” it and our seats were terrible—BUT—the following year I saw Carmen there with Rosalind Elias, and was captivated once again. During the first act—as she was singing the Lilas Pastia aria—I remember being worried because she was wearing a low-cut top that kept slipping down her shoulders and I realized she had no way to pull it back up since her hands were tied behind her back!!

These early immersive experiences set the stage for my life-long love of opera.

—Elaine Billmire

Inspired by Carmen

When I went to college to get a degree in voice performance, I had no idea I was going to be trained in classical singing. I had heard plenty of arias, but never took the opportunity to see an entire opera. In 2014, my cousin and I decided to see Carmen performed in Cincinnati Music Hall. I was absolutely blown away at the entire opera! After that performance, I made the decision to pursue an opera singing career. I hope to perform at Cincinnati Music Hall someday!

—Hannah Petry

Playing in the Pit

I fell in love with opera when I played string bass for the pit orchestra at [Brigham Young University]. The first one was La Bohème, which made me cry. Later I got to travel around Europe and see a few [operas] in Vienna and Berlin. I adored The Magic Flute. Who can resist opera? There’s no medium that uses so many art forms at once! I even got my husband hooked.

—Doren Cook

Opera at the Zoo

When I came to the old College-Conservatory of Music in 1965, I was able to attend my first opera at the Cincinnati Zoo. I believe it was Così fan tutte. I am now a big fan of Puccini’s Tosca, Madame Butterfly, and Turandot!

—Kenneth Harshbarger

Thank you for sharing your stories with us! We hope the memories bring you as much joy as they bring us. Have an Opera story you’d like to share? Send it to us any time!

We’d love to hear about your favorite Cincinnati Opera production! Send us a note at info@cincinnatiopera.org.

Teddy Gumbleton, Director of Corporate & Foundation Giving

Fellow Travelers, 2016

For me, our 2016 world premiere Fellow Travelers is the pinnacle of the operatic art form. It has a gorgeous and evocative score, a lyrical and insightful libretto, and a sharp, vital production. It builds upon classic opera characteristics and combines them with a story relevant to today’s audiences. It showcased how beautiful and visceral opera can be. Experiencing Fellow Travelers is one of the greatest artistic experiences I have ever had.

It is extremely difficult for me to single out one musical moment from Fellow Travelers. There are so many wonderful moments I could listen to again and again. But if I had to pick one, it would be “This Can’t Go On,” where one character’s shocking act of betrayal is revealed. The exquisite culmination of musical and dramatic themes is utterly shattering.

Thomas Hase, Lighting Director & Resident Lighting Designer

Fellow Travelers, 2016

Fellow Travelers is my favorite Cincinnati Opera production due to the themes within it—an exploration of love, betrayal, and abuse of power in a 21st-century setting. I also believe that all elements of the production were so simply and so completely unified. I felt very proud of it.

My favorite musical selection from the opera is “Bermuda.”

Aimee Sposito Martini, Senior Graphic Designer & Illustrator

L'Étoile, 2006

I have so many favorites at Cincinnati Opera, but the one that stands out is L’Étoile by Emmanuel Chabrier, presented in 2006. There were only two performances, and it went by so quickly, but I wanted everyone I knew to see it. I couldn’t let them miss it. It also became one of my son’s favorites, who was 14 at the time. I was so thankful he didn’t miss it. The music was fun and beautiful. I could watch it and listen to it over and over again. The opera was full of laugh-out-loud moments. The cast worked perfectly together, sound and body. The set was bright and colorful with pops of zany elements. The costumes were also just as fun! It was a perfect night at the opera, and I still wish more people could have seen it.

Alyssa Mehnert, Music Coordinator

Ainadamar, 2009

I saw Cincinnati Opera’s production of this opera about a decade before joining the opera staff. It has been a long-time favorite because it was the first modern opera I ever saw; before this I was only familiar with canonic works. I remember being so excited to see a modern opera that addressed a twentieth-century topic, incorporating electronic sounds, Iberian instruments, the Flamenco voice, and historical musical choices such as the “pants role.” The minimal staging allowed the viewer to focus on these musical layers.

Chris Milligan, The Harry Fath General Director & CEO

Tosca, 2016

Our 2016 Tosca was just thrilling. It was a gorgeous new production designed by Robert Perdziola, and it appeared in the first of our two seasons at the Aronoff Center. Russian soprano Evelina Dobračeva was a passionate Tosca, and the late tenor Marcello Giordani was a stentorian Cavaradossi. With Christopher Allen conducting, the CSO soared in Puccini’s lush passages and electrified in the moments of high drama.

Evans Mirageas, The Harry T. Wilks Artistic Director

Die Meistersinger von Nürnberg, 2010

This one almost didn’t happen. Through a series of unfortunate circumstances, more than half of the large cast (17 principals) cancelled, and at short notice. But the replacements were outstanding, resulting in a rare ensemble spirit in so large an opera.

One musical selection from the opera: The radiant quintet that concludes Act III, Scene 1.

Photo: Cincinnati Opera’s Bluebeard's Castle/Erwartung, 2001. Philip Groshong.

Photo: Cincinnati Opera’s Die Meistersinger von Nürnberg, 2010. Philip Groshong.

Photo: Cincinnati Opera’s Another Brick in the Wall, 2018. Philip Groshong.

Glenn Plott, Director of Production

Bluebeard’s Castle/Erwartung, 2001
Die Meistersinger von Nürnberg, 2010
Another Brick in the Wall, 2018

All three stimulate powerful human responses to characters and their story. All three are purposefully bold and unafraid of exploring the human condition, and the wonderment of it. All three are meant to be on the stage.

Morris Robinson, Artistic Advisor

I mean... Porgy and Bess, 2019!

I was the title character, and it was my first fully-staged production of this work. I like being the “Team Captain”... I liked being responsible for “carrying” the show. I took this as an opportunity to display not only my acting and musical chops, but to also reshape the narrative about one of opera’s most controversial characters. Porgy is a STRONG man, both physically and mentally. He is the most respected and beloved person on Catfish Row. I wanted to give him all the dignity and stature he deserved.

My favorite musical selection? The trio at the end of the show! The entire scene, from Porgy’s return, until the “Oh Lord, I’m on my way” was a “Let me bring it home now” ... “Coach, give ME the ball” ... “I’m the Captain of the team, follow me” moment. I like that!

Matt Singleton, Director of Technology

Die Meistersinger von Nürnberg, 2010

This is one of the only Wagner operas Cincinnati Opera has done in my time at here. It was a perfect example of how funny, grand, and powerful an opera can be.

My favorite scene was the finale. The “art is great” message is so relevant and the awesome force of orchestra, singers, and chorus builds to one of the most exhilarating, toe-curling climaxes in all of western music! It was a truly magical night in the theater.

Katie Syroney, Director of Communications

Margaret Garner, 2005

There are so many extraordinary productions and moments that stand out through my years at Cincinnati Opera. But the first time an opera truly took my breath away was the premiere of Richard Danielpour’s Margaret Garner. Cincinnati Opera co-commissioned the work with Michigan Opera Theatre and Opera Philadelphia, and it was our first time getting to be so close to an opera’s creative development. What’s more, the work was drawn from historical events that took place just across the river from Music Hall—the harrowing journey of an enslaved woman who sacrificed everything in the name of freedom. All those involved—including Danielpour, librettist Toni Morrison (yes, that Toni Morrison), star Denyce Graves, along with the entire company—took great care to tell Margaret’s story with the respect it so richly deserved. Seeing it come to life on the stage was a truly transformative moment.

There is not yet a vocal recording of Margaret Garner, but here is an arrangement for flute and piano of my favorite aria from the opera, “A Quality Love.”

Mike Veroni, Chief Financial Officer

Another Brick in the Wall, 2018

I’m a big Pink Floyd fan, and I love the crossover between classic rock and opera. My favorite musical selection from the opera is “Hey You.”

While there’s not yet a recording of the opera for us to share with you, enjoy the original “Hey You” by Pink Floyd.

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La Traviata, 2012

The Magic Flute, 2017

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Die Fledermaus, 2016

Galileo Galilei, 2013

For young people, finding their way in the world can be difficult. But sometimes the right teacher or mentor—and the power of music—can help. Such was the case for one student who participated in a Cincinnati Opera school program.

In November 2019, Cincinnati Opera welcomed soprano, composer, and educator Adrienne Danrich for a residency around Danrich’s Emmy Award-winning program This Little Light of Mine: The Stories of Marian Anderson and Leontyne Price. Commissioned by Cincinnati Opera in 2007, Danrich’s This Little Light of Mine is a one-woman musical tribute honoring the groundbreaking careers of two courageous women who overcame racial barriers in order to raise their voices in song.

Danrich has performed This Little Light of Mine in Cincinnati in the past, but during this unique six-day residency she engaged students in the process. 18 young women learned portions of the work and even performed alongside Danrich in her 91st rendition of the show, serving either as soloists, ensemble members, or as orators for the text in the production.

The students taking part in Adrienne Danrich’s residency were selected from several schools, thanks to a partnership between Saint Ursula Academy and the Ladies in Leadership program, a nonprofit organization “focused on building and enhancing leadership and interpersonal skills for inner city young ladies in impoverished communities” and helping those students develop confidence through mentorship and sisterhood.

One young woman in particular experienced the transformative power of music and sisterhood firsthand. Having recently weathered the difficult transition to a new school, this bright student was losing interest in her education and was reluctant to engage in the residency. She had never sung before, but after only two days of the program she opened up, connected with the other members of the program, and even asked how to audition for solo opportunities. Her mother later told Opera staff that a week prior to the start of the residency they had prayed for something to give her new hope and reignite her passion for learning. This experience ended up being the spark she was looking for.

Ms. Danrich noticed the change in this student as well—and recognized it as a similar fire to the one that Danrich’s very first voice teacher had lit in her years ago. Following the residency, Danrich spoke to the student on the phone to share some exciting news—Danrich would connect the student with the very same voice teacher that ignited her own passion for opera. The student’s excitement was palpable.

“Music is powerful,” says Danrich. “I had no idea how much I would love opera and classical music until I began to study with an incredible voice teacher who opened up a whole new world of musical expression for me. It changed everything!”

This residency and performance marked the first time that Danrich involved young people directly into the fabric of the show, and the results were positive. “Having them not only witness but be a part of telling the stories of these operatic legends was really important to me,” she says. “This year was marked ‘The Year of the Woman,’ and in light of Cincinnati Opera’s association with The Power of Her, including these young ladies in my presentation of This Little Light of Mine was key.”

David sang in the 1971 world premiere of Leonard Bernstein's Mass at the John F. Kennedy Center for the Performing Arts with the Berkshire Boy Choir.

Abell enrolled at Yale University, where his teachers included John Mauceri and Rob Kapilow. He studied with Nadia Boulanger and Robert D. Levin at the American Conservatory in Fontainebleau before returning to Yale to complete his B.A. in 1981.

Abell made his professional debut conducting Bernstein's Mass at Berlin's Deutschlandhalle in 1982.

Abell mentions the following three operas by Gaetano Donizetti that were his introduction to opera: La Favorite, Lucia di Lammermoor, and Lucie de Lammermoor.

Lyric Opera of Chicago

The Makropulos Affair is a Czech opera with music and libretto by Leoš Janáček.

Don Giovanni is an opera by Mozart.

Mefistofele is the only completed opera with music by the Italian composer-librettist Arrigo Boito

The Symphony No. 2 in D-flat major was written by Howard Hanson on commission from Serge Koussevitsky for the 50th anniversary of the Boston Symphony Orchestra in 1930.

Interlochen Center for the Arts

The Beatles were an English rock band formed in Liverpool in 1960. Members were: John Lennon, Paul McCartney, George Harrison and Ringo Starr.

Abbey Road Studios

Washington National Opera

Giacomo Puccini was an Italian opera composer who has been called "the greatest composer of Italian opera after Verdi".

Oscar Hammerstein was an American librettist, theatrical producer, and (usually uncredited) theatre director of musicals for almost 40 years.

The Marriage of Figaro is an opera buffa (comic opera) composed in 1786 by Mozart, with an Italian libretto written by Lorenzo Da Ponte.

Evans mentions the following schools as notable music schools: Juilliard School, Indiana University Jacobs School of Music, University of Michigan School of Music.

The American Bach Society

Yale Whiffenpoofs

Washington National Opera

Abell continued his postgraduate training from 1983 to 1985 at the Juilliard School, under Jorge Mester and Sixten Ehrling.

Eroica Symphony, byname of Symphony No. 3 in E-flat Major, is a symphony by Ludwig van Beethoven, known as the Eroica Symphony for its supposed heroic nature.

Natalia Makarova is a Soviet-Russian-born prima ballerina and choreographer.

Abell deputized at short notice for John Mauceri conducting Britten's The Turn of the Screw at Washington National Opera.

On Your Toes is a musical with a book by Richard Rodgers, George Abbott, and Lorenz Hart.

Gian Carlo Menotti gave David the advice to “never conduct Broadway. Never do it you will regret it.”

Les Misérables, colloquially known in English-speaking countries as Les Mis is a musical adapted from French poet and novelist Victor Hugo's 1862 novel of the same name by Claude Schönberg.

Porgy and Bess is an English-language opera by the American composer George Gershwin, with a libretto written by author DuBose Heyward and lyricist Ira Gershwin.

Miss Saigon is a musical by Schönberg.

Abell subsequently conducted the 25th anniversary concert of Les Misérables at the O2 Arena.

The Philly Pops

Arturo Toscanini was an Italian conductor.

Aaron Copland was an American composer, composition teacher, writer, and later a conductor of his own and other American music.

Rhapsody in Blue is a musical composed by George Gershwin.

Trevor Nunn is an English theatre director.

Harold Prince was an American theatrical producer and director associated with many of the best-known Broadway musical productions of the 20th century.

Ariadne auf Naxos is an opera by Richard Strauss with a German libretto by Hugo von Hofmannsthal.

The Voice of Firestone is a long-running radio and television program of classical music.

Leontyne Price is an American soprano.

Marilyn Monroe was an American actress, model, and singer.

Dorothy Kirsten was an American operatic soprano.

Minnesota Opera

Blind Injustice

John Williams is an American composer, conductor, and pianist. Williams has composed for many critically acclaimed and popular movies, including the Star Wars series, Jaws, E.T. the Extra-Terrestrial, and the first three Harry Potter films.

Till Eulenspiegel's Merry Pranks is a tone poem written in 1894–95 by Strauss.

Along with pianist and musicologist Seann Alderking, Abell edited a complete edition of Cole Porter's Kiss Me, Kate, published in 2014.

Glimmerglass Opera

The Library of Congress is the research library that officially serves the United States Congress and is the de facto national library of the United States.

The New York Public Library is a public library system in New York City.

Scott Davenport Richards

Gioachino Rossini was an Italian composer who gained fame for his 39 operas, although he also wrote many songs, some chamber music and piano pieces, and some sacred music.

Phillip Gossett was an American musicologist and historian, and Robert W. Reneker Distinguished Service Professor of Music at the University of Chicago.

Tancredi is a melodramma eroico in two acts by composer Gioachino Rossini and librettist Gaetano Rossi

Un ballo in maschera (A Masked Ball) is an 1859 opera by Verdi.

Powel Crosley Jr. was an American inventor, industrialist, and entrepreneur. He was also a pioneer in radio broadcasting, and a former owner of the Cincinnati Reds major league baseball team.

Alfred Drake was an American actor and singer.

Robert Russell Bennett was an American composer and arranger, best known for his orchestration of many well-known Broadway and Hollywood musicals by other composers such as Irving Berlin, George Gershwin, Jerome Kern, Cole Porter, and Richard Rodgers.

Don Walker is an Australian musician, songwriter and author.

Felix Mendelssohn was a German composer, pianist, organist and conductor of the early Romantic period.

Messiah is an English-language oratorio composed in 1741 by George Handel.

Lemuel Wade

Francesca Zambello is an American opera and theatre director. She serves as director of Glimmerglass Festival and the Washington National Opera.

Lyric Opera of Kansas City

Hawaii Opera Theatre

Chandos Records is a British independent classical music recording company based in Colchester.

Peter Morris is an American playwright, television writer and critic, best known for his work in British theatre.

"Something's Gotta Give" is a song that was written for and first performed by Fred Astaire in the 1955 musical film Daddy Long Legs.

"A Wonderful Guy" is a show tune from the 1949 Rodgers and Hammerstein musical South Pacific.

Abell cites Evans Mirageas as one of his greatest mentors.

Abell cites his niece’s podcast, The Bright Sessions, as one of his current favorites.

Abell mentions Dark Sky as one of his favorite apps

Trio Bistro

Carousel is the second musical by Rodgers and Hammerstein.

English National Opera

Alfred “Alfie” Boe is an English tenor and actor, notably performing in musical theatre.

Renata Scotto is an Italian soprano and opera director.

Don Pasquale is an opera buffa, or comic opera, in three acts by Gaetano Donizetti

València is the capital of the autonomous community of Valencia and the third-largest city in Spain.

Montserrat Caballé was a Spanish operatic soprano.

Arturo Toscanini was an Italian conductor.

Wolfgang Amadeus Mozart was a prolific and influential composer of the classical era.

Robert Schumann a German composer, pianist, and influential music critic.

The Spoleto Festival (Festival dei Due Mondi) is an annual summer music and opera festival held each June to early July in Spoleto, Italy, since its founding by composer Gian Carlo Menotti in 1958.

Opera Idol was an annual opera competition for amateur singers run by Cincinnati Opera.

Ainadamar is the first opera by Argentinian composer Osval do Golijov.

Carmen is an opera by French composer Georges Bizet.

The Marriage of Figaro is an opera buffa (comic opera) composed in 1786 by Mozart.

Don Carlos is a grand opera composed by Giuseppe Verdi.

Diego Velázquez was a Spanish painter, the leading artist in the court of King Philip IV, and one of the most important painters of the Spanish Golden Age.

Manuel de Falla was a Spanish composer.

Francisco Albéniz was a Spanish virtuoso pianist, composer, and conductor.

Reynaldo Hahn was a Venezuelan, naturalized French, composer, conductor, music critic, diarist, theatre director, and salon singer.

Enrique Granados was a Spanish pianist and composer of classical music.

Franz Joseph Haydn was an Austrian composer of the Classical period.

Tomás Luis de Victoria was the most famous composer in 16th-century Spain, and was one of the most important composers of the Counter-Reformation, along with Giovanni Pierluigi da Palestrina and Orlando di Lasso.

Antonio de Cabezón was a Spanish Renaissance composer and organist.

Martín y Soler was a Spanish composer of opera and ballet. Although relatively obscure now, in his own day he was compared favorably with his contemporary, Wolfgang Amadeus Mozart, as a composer of opera buffa.

Luigi Boccherini was an Italian composer and cellist of the Classical era whose music retained a courtly and galante style even while he matured somewhat apart from the major European musical centers.

Giuseppe Domenico Scarlatti was an Italian composer.

Farinelli was the stage name of Carlo Maria Michelangelo Nicola Broschi, a celebrated Italian castrato singer of the 18th century and one of the greatest singers in the history of opera.

The Vienna State Opera is an Austrian opera house and opera company based in Vienna, Austria.

Otto Klemperer was a Jewish German-born conductor and composer, described as "the last of the few really great conductors of his generation."

Bruno Walter was a German-born conductor, pianist and composer.

Herbert von Karajan was an Austrian conductor. He was principal conductor of the Berlin Philharmonic for 35 years.

The Spanish National Youth Orchestra is a Spanish youth orchestra.

Teresa Berganza is a Spanish mezzo-soprano.

Sir Georg Solti was a Hungarian-born orchestral and operatic conductor, best known for his appearances with opera companies in Munich, Frankfurt and London, and as a long-serving music director of the Chicago Symphony Orchestra.

Luisa Miller is an opera by Giuseppe Verdi.

Lorin Maazel was an American conductor, violinist, and composer.

Zubin Mehta is an Indian conductor of Western and Eastern classical music. He is currently music director of the Israel Philharmonic Orchestra (IPO) and Conductor Emeritus of the Los Angeles Philharmonic.

Carlo Maria Giulini was an Italian conductor.

The Symphony No. 5 is Beethoven’s 5th symphony and is one of the best-known compositions in classical music and one of the most frequently played symphonies.

The Goldberg Variations is a musical composition for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations.

La Traviata is an opera composed by Giuseppe Verdi.

Roméo et Juliette (Romeo and Juliet) is an opera by Charles Gounod.

Giacomo Puccini was an Italian opera composer who has been called "the greatest composer of Italian opera after Verdi."(Ravenni & Girardi n.d., Introduction.)

Richard Strauss was a leading German composer of the late Romantic and early modern eras.

Johannes Brahms was a German composer, pianist, and conductor of the Romantic period.

Nikolaus Harnoncourt was an Austrian conductor, particularly known for his historically informed performances of music from the Classical era and earlier.

Pablo Casals was a cellist, composer, and conductor from Catalonia.

La 1 (La Uno, The One), is the flagship television channel of Spanish public broadcaster Radio televisión Española (RTVE).

La 2 (La Dos, The Two) is Spain's second state-owned television channel for the public broadcasting service.

Senegal is a country in West Africa.

José Plácido Domingo is a Spanish opera, conductor, and arts administrator.

Otello is an opera by Verdi.

Franco Ferrara was an Italian conductor.

Guido Cantelli was an Italian orchestral conductor.

"Fritz" Reiner was a prominent conductor of opera and symphonic music in the twentieth century.

Alicia de Larrocha was a Spanish pianist and composer. She was considered one of the great piano legends of the 20th century.

The Tudors is a historical fiction television series set primarily in 16th-century England

Medici is an Italian-British historical drama

Spotify Technology S.A. is a Swedish media-services provider founded in 2006.

Kelley earned her Bachelor of Music degree from Thornton School of Music at the University of Southern California and her master's degree in Music from the University of California, Los Angeles.

John Adams is an American composer, clarinetist, and conductor of classical music and opera, with strong roots in minimalism.

Suzuki is a character in the opera Madame Butterfly, an opera in three acts (originally two) by Giacomo Puccini.

Roberto De Candia is an Italian operatic baritone.

Maria Luigia Borsi is an Italian opera singer.

Hadleigh Adams is an operatic baritone from Palmerston North, New Zealand. Hadleigh recently played Mercutio in Cincinnati Opera’s performance of Charles Gounod’s Romeo and Juliet.

Die Fledermaus is an operetta composed by Johann Strauss II.

A breeches role (also pants role or trouser role) is a role in which an actress appears in male clothing.

Tanglewood is a music venue in the towns of Lenox and Stockbridge in the Berkshire Hills of western Massachusetts.

The Cleveland Orchestra, based in Cleveland, is one of the five American orchestras informally referred to as the "Big Five".

Requiem Canticles is a 15-minute composition by Igor Stravinsky, for contralto and bass soli, chorus, and orchestra.

Cherubino is a character in The Marriage of Figaro, an opera buffa (comic opera composed by Wolfgang Amadeus Mozart.

"The Composer" is a character in Richard Strauss's opera Ariadne auf Naxos.

Das Lied von der Erde ("The Song of the Earth") is a composition for two voices and orchestra written by the Austrian composer Gustav Mahler.

Cecilia Bartoli is an Italian coloratura mezzo-soprano opera singer and recitalist.

“Voi Che Sapete” is an aria from The Marriage of Figaro.

Renée Fleming is an American soprano, known for performances in opera, concerts, recordings, theater, film, and at major public occasions.

Leontyne Price is an American soprano. She rose to international acclaim in the 1950s and 1960s, and was the first African American to become a leading performer, or prima donna, at the Metropolitan Opera, and one of the most popular American classical singers of her generation.

Robert Spano is an American conductor and pianist.

The Gospel According to the Other Mary is an opera/oratorio by John Adams.

Peter Sellars is an American theatre director, noted for his unique contemporary staging of classical and contemporary operas and plays.

El Niño is an opera-oratorio by John Adams.

Aaron Copland was an American composer, composition teacher, writer, and later a conductor of his own and other American music.

El Salón México is a symphonic composition in one movement by Aaron Copland, which uses Mexican folk music extensively.

Der Ring des Nibelungen (The Ring of the Nibelung) is a cycle of four German-language epic music dramas composed by Richard Wagner.

Kelley grew up in Clovis, California.

Audra McDonald is an American actress and singer. Primarily known for her work on the Broadway stage, she has won six Tony Awards, more performance wins than any other actor, and is the only person to win all four acting categories. McDonald was raised in Fresno, California.

La Cenerentola is an operatic dramma giocoso by Gioachino Rossini.

The Turn of the Screw is a 20th-century English chamber opera composed by Benjamin Britten.

Claude Debussy was a French composer.

Phyllis Curtin was an American classical soprano who had an active career in operas and concerts from the early 1950s through the 1980s.

Donald Runnicles is a Scottish conductor.

Louis Langrée is the music director of the Cincinnati Symphony Orchestra.

Evans mentions the following Mahler works: Symphony No. 2 (known as the Resurrection Symphony), Symphony No. 3, Symphony No.8, Rückert-Lieder, and Kindertotenlieder.

The songs of Des Knaben Wunderhorn (The Boy’s Magic Horn) by Gustav Mahler are voice-and-piano and orchestral settings of German folk poems chosen from a collection of the same name.

The Rape of Lucretia is an opera by Benjamin Britten.

Carnegie Hall is a concert venue in Midtown Manhattan in New York City.

The Neruda Songs are a cycle of five songs composed for mezzo-soprano soloist and orchestra by the American composer Peter Lieberson for his wife, singer Lorraine Hunt Lieberson. Lieberson chose O'Connor as the first mezzo-soprano to sing his composition Neruda Songs live in concert after the death of his wife.

Bernard Haitink is a Dutch conductor.

The Atlanta Symphony Orchestra (ASO) is an American orchestra based in Atlanta, Georgia. Robert Spano has been its music director since 2001.

Agustín Barrios was a Paraguayan virtuoso classical guitarist and composer, largely regarded as one of the greatest performers and most prolific composers for the guitar.

Carmen is an opera by French composer Georges Bizet.

The Dream of Gerontius is a work for voices and orchestra in two parts composed by Edward Elgar in 1900, to text from the poem by John Henry Newman.

Wesendonck Lieder is the common name of a set of five songs for female voice and piano Wagner, Fünf Gedichte für eine Frauenstimme (Five Poems for a Female Voice).

Hans Werner Henze was a German composer.

Sea Pictures is a song cycle by Elgar consisting of five songs written by various poets.

Jascha Heifetz was a Russian-American violinist.

Kelley cites Dawn Upshaw, an American soprano, as her most important mentor.

The Unbearable Lightness of Being is a 1984 novel by Milan Kundera, about two women, two men, a dog and their lives in the 1968 Prague Spring period of Czechoslovak history.

Tidying Up with Marie Kondo is a reality television series developed for Netflix and released on January 1, 2019.

Kelley mentions Here’s the Thing and Fresh Air as some of her favorite podcasts.

Zero, aptly named for the amount of food you eat during a fast, is a simple tracker that helps users sync a fast with their biological clock.

Spotify Technology S.A. is a Swedish media-services provider founded in 2006 with an app of the same name.

Pandora is a music application.

Metropol Restaurant & Bar

Jessica Rivera is an American soprano of Peruvian-American ancestry.

Kelley cites Nina Simone as one of her favorite musicians outside of classical music.

Stratford-upon-Avon is a market town and civil parish in the Stratford-on-Avon District, in the county of Warwickshire, England.

The Royal Shakespeare Company (RSC) is a major British theatre company, based in Stratford-upon-Avon.

Sir Trevor Nunn is an English theatre director. Nunn has been the Artistic Director for the Royal Shakespeare Company.

Antony and Cleopatra is a tragedy by William Shakespeare.

Richard II is a history play by William Shakespeare.

John Barton was a British theatre director and (with Peter Hall) a co-founder of the Royal Shakespeare Company.

Twelfth Night is a comedy by William Shakespeare.

Dame Judi Dench is an English actress.

John Copley is a British theatre and opera producer and director.

The Times is a British daily (Monday to Saturday) national newspaper based in London.

Covent Garden is a district in London, on the eastern fringes of the West End.

The London Opera Centre, a school for the training of opera singers and other opera professionals, existed in England between 1963 and 1977.Glineborn

Benjamin Britten was an English composer, conductor and pianist.

Sir Peter Pears was an English tenor. His career was closely associated with the composer Benjamin Britten, his personal and professional partner for nearly forty years.

Joan Cross was an English soprano, closely associated with the operas of Benjamin Britten.

Aldborough is a village in the civil parish of Boroughbridge in the Borough of Harrogate in North Yorkshire, England.

La bohème is an opera composed by Giacomo Puccini.

Paul Bunyan is an operetta in two acts and a prologue composed by Benjamin Britten to a libretto by W. H. Auden, designed for performance by semi-professional groups.

Malcolm Fraser was an opera director.

The Magic Flute is an opera by Mozart.

Scottish Opera is the national opera company of Scotland.

Sir David Pountney is a British and Polish theatre and opera director and librettist internationally known for his productions of rarely performed operas and new productions of classic works.

“Four Sea Interludes” are from the opera Peter Grimes by Benjamin Britten

Peter Hemmings was an English opera administrator, impresario and singer.

LA Opera

John Cox is an English opera director.

The Marriage of Figaro is an opera buffa (comic opera) composed in 1786 by Mozart.

Così fan tutte an opera by Mozart.

Wozzeck is the first opera by the Austrian composer Alban Berg.

Don Giovanni is an opera by Mozart.

Glyndebourne is an English country house, the site of an opera house that, since 1934, has been the venue for the annual Glyndebourne Festival Opera.

Falstaff is a comic opera by the Italian composer Giuseppe Verdi.

Ariadne auf Naxos is an opera by Richard Strauss.

Un ballo in maschera is an opera by Verdi.

English Touring Opera (ETO) is an opera company in the United Kingdom founded in 1979 under the name Opera 80 by the then-existing Arts Council of Great Britain.

The Barber of Seville is an opera by Gioachino Rossini

Sir Thomas Allen is an English operatic baritone.

Dame Janet Baker is an English mezzo-soprano best known as an opera, concert, and lieder singer.

Decca Records is a British record label established in 1929 by Edward Lewis.

Serenade to Music is a work by Ralph Vaughan Williams

Robert Lloyd

Danielle de Niese is an Australian-American lyric soprano.

Jules Massenet was a French composer of the Romantic era best known for his operas, of which he wrote more than thirty. The two most frequently staged are Manon (1884) and Werther (1892).

Sir Roger Norrington is a British conductor. He is the son of Sir Arthur Norrington and his brother is Humphrey Thomas Norrington.

Elijah Moshinsky is an Australian opera director, theatre director and television director who has worked at the Royal Opera House, the Metropolitan Opera, the Royal National Theatre, BBC Television and numerous other venues.

The Royal Academy of Music in London, England, is the oldest conservatoire in the UK.

The Guildhall School of Music and Drama is an independent music and dramatic arts school which was founded in 1880 in London, England.

Valery Gergiev is a Soviet and Russian conductor and opera company director of Ossetian origin.

Der Rosenkavalier is a comic opera by Richard Strauss

Carol Vaness is an American lirico-spinto soprano.

Opera Kansas

Palm Beach Opera Vocal Competition

Opera Philadelphia

Count Almaviva is a character in the Marriage of Figaro

Theresa May is a British politician who served as the Prime Minister of the United Kingdom and Leader of the Conservative Party.

Don Carlos is a grand opera composed by Verdi.

Simon Boccanegra is an opera by Verdi.

Madame Butterfly is an opera by Giacomo Puccini.

Der Freischütz is a German opera with spoken dialogue by Carl Maria von Weber.

Washington Irving was an American short story writer, essayist, biographer, historian, and diplomat of the early 19th century.

Glenn Platt is Cincinnati Opera’s Director of Production

Giorgio Strehler was an Italian opera and theatre director.

Killing Eve is a British spy thriller television series, produced in the United Kingdom by Sid Gentle Films for BBC America.

Breaking Bad is an American neo-Western crime drama television series created and produced by Vince Gilligan.

The Cincinnati Zoo and Botanical Garden is the second-oldest zoo in the United States.

Amy Winehouse was an English singer and songwriter.

René Jacobs is a Belgian musician. He came to fame as a countertenor but in recent years has become renowned as a conductor of Baroque and early Classical opera.

Carmen is an opera by French composer Georges Bizet.

Santa Fe Opera (SFO) is an American opera company.

Lorenzo Da Ponte was an Italian, later American opera librettist, poet and Roman Catholic priest.

The San Diego Opera Association (SDO) is a professional opera company located in the city of San Diego, California.

La sonnambula (The Sleepwalker) is an opera semiseria in two acts, with music in the bel canto tradition by Vincenzo Bellini.

Rusalka is an opera ('lyric fairy tale') by Antonín Dvořák.

Eugene Onegin is an opera composed by Pyotr Tchaikovsky.

Oberlin College and Conservatory

Seiji Ozawa is a Japanese conductor known for his advocacy of modern composers and for his work with the San Francisco Symphony, the Toronto Symphony Orchestra, and the Boston Symphony Orchestra.

The Heart Mountain War Relocation Center was one of ten concentration camps used for the internment of Japanese Americans evicted from the West Coast Exclusion Zone during World War II by executive order from President Franklin Roosevelt after the bombing of Pearl Harbor in December 1941.

The Holocaust was the World War II genocide of the European Jews.

An American Dream is an opera by Jack Perla, a composer and pianist.

Lyric Opera of Chicago

Everything Is Illuminated is a 2005 biographical comedy-drama film, written and directed by Liev Schreiber and starring Elijah Wood and Eugene Hütz. It was adapted from the novel of the same name by Jonathan Safran Foer.

Marie Kondo is a Japanese organizing consultant and author.

Boris Goldovsky was a Russian-born conductor and broadcast commentator, active in the United States. He has been called an important "popularizer" of opera in America.

Roméo et Juliette (Romeo and Juliet) is an opera by Charles Gounod.

The Marriage of Figaro is an opera buffa (comic opera) composed in 1786 by Wolfgang Amadeus Mozart.

La bohème is an opera composed by Giacomo Puccini.

Minnesota Opera is a performance organization based in Minneapolis, Minnesota.

Nicole Cabell is an American operatic soprano. She recently played Juliet in Cincinnati Opera’s production of Romeo and Juliet.

Matthew White recently played Romeo in Cincinnati Opera’s production of Romeo and Juliet.

Traditional Japanese theatre includes Kabuki, Noh(and its comic accompaniment, Kyōgen) and the puppet theatre, Bunraku.

Jennifer Good is the Managing Director of Production at the San Francisco Opera.

Santa Fe Opera (SFO) is an American opera company.

Rupert Hemmings is the Vice President of Artistic Planning at the LA Opera.

Paul Moser is an American philosopher who writes on epistemology and the philosophy of religion. He is Professor of Philosophy at Loyola University Chicago and past editor of the American Philosophical Quarterly.

Houston Ballet, operated by Houston Ballet Foundation, is the fourth-largest professional ballet company in the United States, based in Houston, Texas.

William Shakespeare was an English poet, playwright and actor, widely regarded as the greatest writer in the English language and the world's greatest dramatist.

Mozawa is a performing arts company that, through hybridity and fusion, aims to break down the barriers that exist between differing artistic media and cultures.

Nabucco is an Italian-language opera by Giuseppe Verdi.

Franco Zeffirelli was an Italian director and producer of operas, films and television.

Origami is the art of paper folding, which is often associated with Japanese culture.

Don Carlos is a (historical) tragedy in five acts by Friedrich Schiller.

Sir Derek Jacobi is an English actor and stage director.

Madame Butterfly is an opera by Giacomo Puccini.

Ana Martínez is a Puerto Rican soprano.

Kelly Kaduce is an American soprano.

Robert Wilson is an American experimental theater stage director and playwright who has been described by the media as "[America]'s – or even the world's – foremost vanguard 'theater artist'".

University of Michigan

DePaul University

North Park University

The Patrick G. and Shirley W. Ryan Opera Center

Adler Fellowship Program

Die Frau ohne Schatten (The Woman without a Shadow) is an opera by Richard Strauss.

The Turn of the Screw is a 20th-century English chamber opera composed by Benjamin Britten.

The Rake's Progress is an English-language opera in three acts and an epilogue by Igor Stravinsky.

Marco Polo is an opera by the Chinese-born composer Tan Dun.

Carousel is the second musical by the team of Richard Rodgers (music) and Oscar Hammerstein II (book and lyrics).

My Fair Lady is a musical based on George Bernard Shaw's Pygmalion.

Stephen Sondheim is an American composer and lyricist known for more than a half-century of contributions to musical theatre.

A Little Night Music is a musical with music and lyrics by Stephen Sondheim.

Isaac Mizrahi is an American fashion designer, TV presenter, and Chief Designer of the Isaac Mizrahi brand for Xcel Brands.

Houston Grand Opera (HGO), located in Houston, Texas, was founded in 1955 by German-born impresario Walter Herbert.

Opera Theatre of Saint Louis (OTSL) is an American summer opera festival held in St. Louis, Missouri.

Sweeney Todd: The Demon Barber of Fleet Street is a 1979 musical thriller with music and lyrics by Stephen Sondheim.

American Gods (2001) is a fantasy novel by British author Neil Gaiman.

Dark is a German science fiction thriller web television series.

Uber Technologies, Inc. is an American multinational transportation network company offering services that include peer-to-peer ridesharing, ride service hailing, food delivery, and a bicycle-sharing system.

The John A. Roebling Suspension Bridge, originally known as the Cincinnati-Covington Bridge spans the Ohio River between Cincinnati, Ohio and Covington, Kentucky.

Ohio River Trail

The Brooklyn Bridge is a hybrid cable-stayed/suspension bridge in New York City.

Matthew mentions Beyoncé as one of his favorite artists outside of the opera world.

Susanna is from Huntsville, Alabama where she attended Randolph School. She received Bachelor of Music and Master of Music degrees from the Juilliard School. After completing her master's degree in 2004, she became a member of Santa Fe Opera's Apprentice Program for Singers.

The Metropolitan Opera

Madame Butterfly is an opera by Giacomo Puccini.

Leave It to Beaver is a late 1950s black-and-white American television sitcom about an inquisitive and often naïve boy.

Susanna originally wanted to attend the following higher education institutions: Northwestern University, Vanderbilt University, Samford University, and Furman University.

The New York City Opera (NYCO) is an American opera company located in Manhattan in New York City. The company has been active from 1943 through 2013 (when it filed for bankruptcy), and again since 2016 when it was revived.

New York Philharmonic Orchestra(NYPO) or New York Philharmonic-Symphony Orchestra, is an orchestra based in New York City.

Carnegie Hall is a concert venue located in Manhattan in New York City.

Operalia, The World Opera Competition is an annual international competition for young opera singers. Founded in 1993 by Plácido Domingo, the competition has helped launch the careers of several important artists.

The Music Academy of the West is a summer music conservatory located in Montecito, California. Participation is merit-based and tuition free.

Marilyn Horne is an American mezzo-soprano opera singer.

Matthew Epstein is the Director of Vocal Divisions at Columbia Artists Management, Inc.

Cynthia Hoffmann is a member of the voice faculties of Manhattan School of Music, where she also teaches a class in Vocal Performance, and of the Juilliard School, where she served as Chair from 1995 to 2006.

Matthew A. Horner is the Executive Vice President - Global Head of Vocal for IMG Artists, New York.

Lyric Opera of Chicago Young Artists Program

Countess Rosina Almaviva is a character in The Marriage of Figaro, an opera buffa composed in 1786 by Wolfgang Amadeus Mozart.

Birdie is a character in Regina, an opera by Marc Blitzstein.

Musetta is a character in La bohème, an opera by Giacomo Puccini.

Fiordiligi is a character in Così fan tutte an opera by Mozart.

Agrippina is a character in an opera of the same name by George Frideric Handel.

Don Giovanni is an opera by Mozart. Donna Anna, Don Giovanni’s daughter, and Donna Elvira, a lady of Burgos abandoned by Don Giovanni, are characters in the opera.

Arabella and Der Rosenkavalier are comic operas by Richard Strauss

Daphne is a one-act opera by Richard Strauss.

Opera Theatre of Saint Louis (OTSL) is an American summer opera festival held in St. Louis, Missouri.

Kaija Saariaho is a Finnish composer based in Paris, France.

Renée Fleming is an American soprano, known for performances in opera, concerts, recordings, theater, film, and at major public occasions.

Julian Bream is an English virtuoso classical guitarist and lutenist. One of the most distinguished classical guitarists of the 20th century, he played a significant role in improving the public perception of the classical guitar as a respectable instrument.

Natalie Dessay is a French singer and actress who had a highly acclaimed career as an operatic coloratura soprano before leaving the opera stage on 15 October 2013. She is married to the bass-baritone Laurent Naouri.

Violetta is a character in the opera La traviata by Giuseppe Verdi.

Cleopatra is a character in the opera Antony and Cleopatra, an opera by American composer Samuel Barber.

We Are All Completely Beside Ourselves is a 2013 novel by the American writer Karen Joy Fowler.

Fresh Air is a podcast hosted by Terry Gross, the show features intimate conversations with today's biggest luminaries.

White Lies is an NPR podcast. More information can be found here.

The Eagle OTR and Salazar are restaurants in Cincinnati.

Dolly Parton is an American singer, songwriter, multi-instrumentalist, record producer, actress, author, businesswoman, and humanitarian, known primarily for her work in country music.