tag:blogger.com,1999:blog-35983169670390953542024-03-13T05:36:32.065-06:00Central City Opera Festival Blog: Behind-the-CurtainGo behind the scenes at Central City Opera's Festival located in Central City, Colorado.<br>
For our full website, visit <u><a href="http://www.centralcityopera.org">www.centralcityopera.org</a></u>.Central City Operahttp://www.blogger.com/profile/12863429946904896103noreply@blogger.comBlogger172125tag:blogger.com,1999:blog-3598316967039095354.post-69653179513810652342015-08-14T15:17:00.002-06:002015-08-14T15:17:38.915-06:00A Bit of History on Central City Opera's Education Programming<div style="border-image: none;">
<em>Editor's Note: Today's blog was written by Deborah Morrow, Director of Education & Community Engagement</em></div>
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<span style="font-family: Calibri;">In the late 70s <a href="http://www.centralcityopera.org/" target="_blank">Central City Opera</a> began formally offering education programs that toured to schools and other facilities.<span style="mso-spacerun: yes;"> </span>Duain Wolfe, who also founded the Colorado Children’s Chorale and Colorado Symphony Chorus, instigated these programs.<span style="mso-spacerun: yes;"> </span>He was CCO’s Artistic Administrator at the time and had relationships with singers, teachers and schools in the area.<span style="mso-spacerun: yes;"> </span>When Duain Wolfe left CCO in 1993, I was already on staff and was able to continue and expand the programs that Duain had established.<span style="mso-spacerun: yes;"> </span>There had been community outreach before us - for example, Florence Lamont Hinman (early CCO Chorusmaster and founder of DU’s Lamont School of Music) and her successor, Robert Dexter Fee, used the local singers from the chorus to present many community programs during the 40s and 50s.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: Calibri;">Because <a href="http://www.centralcityopera.org/festival" target="_blank">CCO produces in the summer</a> we have some unique challenges in presenting community programs.<span style="mso-spacerun: yes;"> </span>First, we don’t own an accessible venue in which to present programs outside the summer.<span style="mso-spacerun: yes;"> </span>Most opera companies reach their largest numbers of young and new audiences through student performances, paid dress rehearsals and other performances in their theatres.<span style="mso-spacerun: yes;"> </span>Our single <a href="http://www.centralcityopera.org/familymatinee" target="_blank">Family Matinee</a> only attracts around 400 student and family patrons each year (the rest of the audience consists of company members and older patrons looking for cheap tickets).<span style="mso-spacerun: yes;"> </span>So we must take our <a href="http://www.centralcityopera.org/education" target="_blank">communityprograms</a> on the road (whether locally or farther afield) in order to reach a viable number of students and new audiences.<span style="mso-spacerun: yes;"> </span></span><br />
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" style="border-image: none; margin-left: auto; margin-right: auto;" v:shapes="Picture_x0020_1" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><em>Saints and Sinners, </em>performed in Ouray - Pictured: Bradley Thompson, Jennifer DeDominici, Max Hosmer, Michelle Diggs Thompson. Photo by Erin Joy Swank</span></td></tr>
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<span style="font-family: Calibri;">The second challenge we face is the fact that we cannot efficiently utilize singers from a Young Artist program for community programs.<span style="mso-spacerun: yes;"> </span>Opera companies with traditional seasons have a group of young artists who fill small roles in full productions and spend the rest of their time presenting education programs.<span style="mso-spacerun: yes;"> </span>It is not financially feasible for us to retain a group of young artists after the summer festival for education and community programs.<span style="mso-spacerun: yes;"> </span>Fortunately, due to the fact that a large number of Colorado colleges offer vocal performance programs (and many performers make their homes in Colorado after college), there is a large pool of local talent to utilize.<span style="mso-spacerun: yes;"> </span>We have learned that we can save on costs and use numerous artists on a fee per service basis, rather than hiring a few artists each year for a limited time. <span style="mso-spacerun: yes;"> </span>Thus we have about 25 professional artists on our <a href="https://centralcityopera.org/programs/education-community-engagement/ensemble-artists" target="_blank">Central City Opera Ensemble</a> roster, allowing flexibility in programming and scheduling, while limiting expenses.</span></div>
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<span style="font-family: Calibri;">These “deviations” from standard opera company protocol have allowed us to develop unique programming that is mobile and can be offered any time of year.<span style="mso-spacerun: yes;"> </span>While we do offer summer programming, the majority of our work occurs from September through June.<span style="mso-spacerun: yes;"> </span>Since we’ve just reached the end of a school year, I’ve been reviewing our offerings for the past year.<span style="mso-spacerun: yes;"> </span>Here are a few highlights:</span></div>
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<li style="color: black; font-family: "Calibri","sans-serif"; font-style: normal; font-weight: normal;"><div style="color: black; font-family: "Calibri","sans-serif"; font-style: normal; font-weight: normal; margin-bottom: 0pt; margin-top: 0in; mso-list: l0 level1 lfo1;">
A robust <b style="mso-bidi-font-weight: normal;">partnership with <i style="mso-bidi-font-style: normal;"><a href="http://insidetheorchestra.org/" target="_blank">Inside the Orchestra</a></i></b> – 60-plus performances for families and students in the 2014-15 school year</div>
</li>
<li style="color: black; font-family: "Calibri","sans-serif"; font-style: normal; font-weight: normal;"><div style="color: black; font-family: "Calibri","sans-serif"; font-style: normal; font-weight: normal; margin-bottom: 0pt; margin-top: 0in; mso-list: l0 level1 lfo1;">
More than 1500 middle school students experienced the bilingual opera <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">En Mis Palabras-In My Own Words</i></b>.<span style="mso-spacerun: yes;"> </span>Student and teacher response was overwhelmingly positive.<span style="mso-spacerun: yes;"> </span>The Principal at Hemphill MS in Strasburg commented, “<i style="mso-bidi-font-style: normal;">The performance was excellent and shared a great message. It was amazing to be able to expose our students to the message that all cultures struggle with similar issues.</i>”</div>
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<li style="color: black; font-family: "Calibri","sans-serif"; font-style: normal; font-weight: normal;"><div style="color: black; font-family: "Calibri","sans-serif"; font-style: normal; font-weight: normal; margin-bottom: 0pt; margin-top: 0in; mso-list: l0 level1 lfo1;">
A new-for-CCO holiday production of <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><a href="http://www.centralcityopera.org/amahl" target="_blank">Amahl and the Night Visitors</a></i></b> was presented in partnership with St. James United Methodist Church, Highlands Ranch.<span style="mso-spacerun: yes;"> </span>This touching family production brought in new (and old) audience members during the holiday season.</div>
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<li style="color: black; font-family: "Calibri","sans-serif"; font-style: normal; font-weight: normal;"><div style="color: black; font-family: "Calibri","sans-serif"; font-style: normal; font-weight: normal; margin-bottom: 0pt; margin-top: 0in; mso-list: l0 level1 lfo1;">
Our partnership each year with the CCO Guild allows us to offer <b style="mso-bidi-font-weight: normal;"><a href="http://www.centralcityopera.org/teaser" target="_blank">Opera Teaser</a>, <a href="http://www.centralcityopera.org/art" target="_blank">Opera and Art</a>, <a href="http://www.centralcityopera.org/insideout" target="_blank">Opera Inside Out</a></b>, and <b style="mso-bidi-font-weight: normal;"><a href="http://www.centralcityopera.org/takeachild" target="_blank">Take a Child to the Opera</a></b>.<span style="mso-spacerun: yes;"> </span>We LOVE these opportunities.</div>
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<li style="color: black; font-family: "Calibri","sans-serif"; font-style: normal; font-weight: normal;"><div style="color: black; font-family: "Calibri","sans-serif"; font-style: normal; font-weight: normal; margin-bottom: 0pt; margin-top: 0in; mso-list: l0 level1 lfo1;">
We presented 185 <a href="http://www.centralcityopera.org/education" target="_blank">performances or teaching sessions</a> for students and families in the <b style="mso-bidi-font-weight: normal;">Denver metro area</b> in the 2014-15 school year</div>
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<li style="color: black; font-family: "Calibri","sans-serif"; font-style: normal; font-weight: normal;"><div style="color: black; font-family: "Calibri","sans-serif"; font-style: normal; font-weight: normal; margin-bottom: 0pt; margin-top: 0in; mso-list: l0 level1 lfo1;">
While we have drastically cut back on <b style="mso-bidi-font-weight: normal;"><a href="https://centralcityopera.org/outofthebox" target="_blank">touring</a></b> due to fewer dedicated grants, we still were able to take run-out programs to Glenwood Springs, Summit County, Ouray, Loveland, Colorado Springs, Strasburg, Montrose, Bailey and southeastern Wyoming.<span style="mso-spacerun: yes;"> </span>A full house (family audience) at Ouray’s historic Wright Opera House leaped to their feet at the end of <i style="mso-bidi-font-style: normal;">Saints and Sinners</i>, demanding encores. They have requested a repeat visit this Fall.</div>
</li>
</ul>
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" style="cursor: move; margin-left: auto; margin-right: auto;" unselectable="on" v:shapes="Picture_x0020_7" width="327" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Opera and Art</span></td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img align="left" height="212" hspace="12" 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6jbfX+hrrFZhj5uBXLX3RdJaMkCngN69PSuuPyqpGTxz/kf4VyI3BwR69V7fpXXMzlQxJKjuf8A64qYDmc34muGRbcIzJlxjae3vV7TcjTISpxlcnI56/Ws/WrW51HUbS1tLeSZ0/fSCNd5VAcE4zz1FXLKyZLGJHnvUcDaRvxggnjHaurlXs0/U5eb32h/9nWbuWNtGWY5OCRk/gaZJYWg6Rup7hZH/wDiqm+yyKP+Pm7Az/eBz+lQvA+Mfa7jp0Kqf/Zay0LsR/YoY2DqZTg/89XI/Imo51zC5PPyn1qSSGUdL2Q8/wDPJf8ACqdzHMLeT/SgW2nrEMUWXQfQyzn1I9PeioWSUscznH+yoH9KKaEzk34UCvYfA9xDB4Hs5JGCKrSA57nca89t/Dl+mr/2XqVubGQrub7SuML2Ndf4eszF4Zsmuyps0klVSrY3ncePxrqVX2esTnhR9pJKWiNqbxHNI7Jajy1/vEZNZd5/aF2gKBmZyf3zNgLirVnpcc1+1sk0cMm3zF3g7WHoOTgg8VpXNkdPSO2bYzjczOp4NcqnOU7z1O6cYQjyw0M7RbG3FvPGQTKZGVrgDLnHQ8/yroY7/wCySiwmle4hmjJWaRMbnUZwVP6H61y+kzi3hjWUFXJJCnIzk559OtWrnUoxqdtE6SBgTIhx8uRwev1qpau7OSpBThyl7ULYzyhIYQDIp3AHAwe/tTrCWfSNG+x3UVvdNNncyRBthzypz0yPSrt9rFtpy2xe1SZ5lJXqzHHYIOv/ANeqQlkuLWRvJkg38rGw+ZRnOCfpUQg0tS6MmoJS3EtLUTxos92YDE4aOQRbiAOobuAfYHGK6OaGSx02KXUkjaK+crFPbyeajSAZBzk7SQDxx0rjboPIlubfzoWjlysgITd14AJJwau3s3laQWuGZgkqyOFBOecE4HU4pqnBR5LaMupOpN8yk0xlpd6VbxSrqMccpuY8xMxPLdMAjuBnHbNW7DUkWFIcOjqAp3d/xqiIIW0uQRMH3HbERkbBnABHqKPsKzRwoHmM0Qw5H3io53H6fyrDEUI1ocr6fgdGGxDoyb7/AIlqz1GK0+IMd1cyYVrYCLhSEbuCG4555rS07VbfU9R1f7NKkkMV2VjZUCAjAzgDoM5rKsksrm/m1CKAXixIYn82IsqdMN9PQ1DZJ/ZNzqDach/eoJgh4w/p/hXoUK7py5pas4q1JT92OiOlv7VgtnetZNOlvNvA2nGNpBP5U7z0vD9pViS4Cnk4wM4wDyOK3dO1lrqy3ByxBUq2eoPNT38ou4vssdqryyNkOMKVwMk5+gpU8apYhTkvIc8PahypnOWhjuXulSVIzbIS2/IDEDOAfWvPfih4YT7BD4qivT++McL2ki4ZflOCp6HpyO2a9Aksb7T45Z7K4ikgunbbMshZUkXggj0IIx9awfiJ4f1e40OCDhtNtr0CZkkyVUg4OPTryPxrWrVq1JtPYzVKnCnd7nhNSRDg17Rqfh3RZ/hrc+Xp9jFeQQh4ZY0xICOeWz827kV43EPkJ96yhLmIqQcHZidxTfWpMdK9f0fw7pU/w8jvitsypb+ZOrJ8zcZPI7g05OwQg53PHlid8lFLAAZwOlONldBA/wBnl2kZDBTiun0mytVs2nffljkDoPYZpYdXntrlluC8ERB2YXIzSbFynIMpUkMCCOoPakrp729tdQh3S6eFOOZAeSe+D6/Wr3hr4eSeJBMy6xZWOG2wx3RxJKcA8L6c9aXMluCi3scRT4vvfhUt9aS2F/cWc4xLBI0Tj3BwaZCPvGqRJI33aiPapn6GoW7VTENPWm049abUjNW14th9KgP+qP8AvH+VWLfi1/4DVf8A5Yf8CP8AKs0enNe5FeRc0tQdSt8/54NdRNcQ2sYaVZnz90RAcfUmud0WFnvhICoSJNzlmAwOnfrya6Ke2juUxOpKjkckfnisKllNOWwlflajuJZXS367kgeILJt2lgxPTn9a7T5h0+pH/wCrFcjaLHaskUCeWpcHbk8njnk11py3G3OfQn/69Qmru2wWlZKRz91FA2uTXNw2oM8UACpY53oMg+Y3+zkgfU1o3N5ZQzuqXMpXOc3S7ZDnn5hjrWbeakbWW5RGu4IxK3mXcTBQG2rhenzcA8e4rVg1gapbR3gnkn3rtLzqFfjjnsfrW8qisoNEKL3KRv7P/n4jHJ6sP8KadQtiOLiEjH98Zq4zbm3E8fh/jUJK9eg9SBzWYyqbiAkDz4uewdf8aguJo/IkHmR8r03D/GrsgQ/8s0J/3RzVG7ghNu48qMMV6eWKAMdp4VHEkX1LCil2BRt2Jwf7tFWmkSzVOsotxHc67qN1fIFMcscse7I7ovQevOeK09M1DR5fDFtpzTISJCVt5wQQdx2lT64PPNauvfDXW9RRrO2sIpEtZtzXjS7BtP8AdH8Qx2HTNVbvw+litvb20Aj1CwmVmbeA2Np6A8Ec+9bez0VlcSqJVL3Og0hIbJVg8pnkmjLlipkYY6Z/2feqGszyXEqPgBjER8vGDk9KmikkubF7oTTiS3OBsfA6dhjGPag/aLWGS/axiMs8PlxtNjKqcjcAeg96watK9jevypqxVtdO8vY1zc28YePLoW3nI+6eP5+1SS2ETyuJby1bGCqkEkHBH4ZwK5bVdP0yw0wSlp8phNqTEg+g/XpT9NsI5/Ll/eKQAzmd/ugdOM9fanc57G3c3dpp2ixNdWrybrjYssGBKgwTke3FVX8Q6pYyRXXh77RNbuhWaGVcknjB9+pFa9pNJa6ZIYDHuWYLiWMMCCPeq2par4gjgZrc28argr5KlcnsOtJbakUneN0c5b6zD58t1/YVwSQSzxynb/I45zwKtX/jq8srN20m2eJPKzI043ewYA9/0rat9Y1HTGso1sbeOO5iEsrEkNITyTn6k8e1XBqWn31rqFlc6ZcrvRxHslVkYleOoyBnnH1qla5fNJaoy28S6Mj22nSBZWlCy+ZGdpSQnJBx1OaZZf6VfXzW3mnUo3YxFmwr4GdoYYxgAnNcjYNEXsmvbEQxRNtWSNdpYZ+b8Qa6qz1A6Xpd5LDdGVSXkjCfKWG3GPUUSXLoJTur2KsOqizWOQXrfZw4+1W9spWOYY4C88kHuatHWA+qW02m2cot2lw3njjAPQ+2P6VmzQTT2yxAiJXfzgIIwAzYHXOc1FZfarPWGW4nldZIs7ZBgA55AHTFTLa5UZu+h3+mS2tjay29tKI4Q42RPIDIgbt9NxwOuRius8P23/Ezs7m6kYzM3lCPOc5U5yPpXkuqaneWksi7LZY4LhJFkNuC4/E+3FdJ4f1p7jUobm5vLgQsyvG8Iw49eOOpI/Ks4R99Nmk37h6TDazQ2fki5ZSt1IDLaWu5MYTCuuDjjqfUVE9vFBZXF09jJdQSyMqwxc5cSOoJ69mz+FWdM1O705TG0El+1zNLM84/d7PQEEAcgDGOtRf2tBc6PNaw29xZGIySOsnCgdTlgfVs8V6ik46vVHlqHO7Lczbbw7p80EU19pxKy2m6ZRKPLB28rt6g9ckcV89ePfDMfhLxlqGkwNut0YSQc5IRgCB+HI/CvouzktbuCO2ltZINUjt44JbhTmMBiCQpztP8+a8v8SXulXGpahFPZD7PawtaCRiZWbBJUsexHOAKym1HY3hCU9HocD4B0S18QeNNL06+IFnJITN823KgE4z7nA/GvqvT/BHhzTbKS0tdMjW1kUq0LMzLg9RgnvXzH8O43tPE1vevbrNDG4iJPO0v91se3FfWVjdi5gjYFfmGRg4+vH1pNpitZaHxhrlzJFql1FtMIilZFjHHlgEjH4VkzahPKNrOSuMGuk8e2n/Fb6y0JV4ZLyV42ToVLE1iGMxwbYwADkt6mobSHGLZBFeHZ5bsfLBBxnvXTeH7s6hqv2K3TfPefuxkDIAGcLnoa5ZLNjyf0rpfBNm0PiezvSu5LaVJAD/E+flA9Tmpk1YcVJPQy/FWl3en6s011OLj7UTIsw/i55z75rJh+631rvPic4Y6eTam3ErSzxoVxhWIOPfmuDg+631q4O6JqK0rEjj5ahPap5OhqBu1WzMYetNp+0nJAJHrimVIzXj4tf8AgNVv+XYf7xq1jFs3sBVUf8eq/U1kj1aq2XkX9KCtfRhvulSDxntXVQLAsK27ow29Ji5PHoQePyrl9Iz9vTHof5V0m472HXp1rnrSaloEYq1xyoFuY1A6SD8ea6xXB+XAA7cf/Wrk4wv2uLPH7wcD610N7K9nYyXEYDbQCAT159uamJMn3MPUUu74sjxLPbQNIyW0fYnJEj49x+QrRhz9jtXtfs4ikhRtrhsq2MN0PqDUdpdy6ZdRTqsPnEy8fxNCF3Mp9TycH2q5LY/YbmSGIE27kTQY6bHGf55rWGsG3v8Ap0Jla+hV23I5Btj15+fj9ahnllgieWQ24VRln3uf0xVoxsDn5jx1A4/lWVrhxpsgJIJx1HX9KlO7sJ6K4221kXMzokY2qpYkE8/pRc3pkiZAAMjHJP8A8TWXoQ/0t/8Arn/UVcaMld23j613QowaOGVeaZSl84IzoI229gxB/lRVmf8A49SOR8o/nRWdSnGLsjalUcldn0JZeIRJYytGY3ucbRDJIVXnjIODx3xXliavq2veErtNQL3MtneQRQcBGCrv3rux16deuAKqp4iE2kXF1HJ5UTIVVuhBUj+taVnrVtremX9vIix3VzEGCvwly6YIIPG1iB+NdWFjVnRlJL/gEVfZxqpP/hyWw1OCO2ngls54I5BiMOwVpOMEDng/U1MlrFFoab4pYpJ5y2JW/eD0A5PHArjkmh1G5ghayW3VsxgI55JGAWHTj0rr7vdZaNptvdxGB4YslCed5P8AniufE0KlF2n1NYYmNfZbGDq9sjpaXMyyJbNO0Yb7oDBecZ7jP61s6JFZLBKMukAQguRvYk8ZqhqPleXpzLKxOx3nVj8qPnqPTjA/CtOyg8/R/NdxE7OVijP3pB6/zJrlvpdFyWlmSagRDp1tDGR5JfduPG4gAEjvisG9uC1/EqOy+Sh246Ekc8d+Kn1XUCbu3t0XzPsyEdP4ieT9BU2nxNZCeZixknAbDHIyR29BSjsKCtFEmorLBBpqzZZUhXBByVGe9UNPvA2r3MbMQPPWNQByeg/rWvqTK8dt58oQm0G1iOMg4rG8QNCmsq2nuhzZxOJIz/y0Qcg+h4p+Y77IveLLSx003UQt0h08oJYhH1WT/Z9yQAfbNY91Gx0Z8DbJLBgA5GCxrP1PV7vWLy3SJ8QxOpLsNxBB9PTJNbeozTS2ch2hG8kKQOQCBzj2zUVJPlQQjZmbGPGr6P8AaY5QIIo8qFClyBxkDrRYWmqPdRy3xmeRkJJkU/Io5rZ07T5XtrS5imZA0ojJz7Y4rqoLPdp9w8kzyXVu0kUhY4BU9MDpkA4NU5Nx1HUtS1OM8TqrT3S5GPNj6DAPFaenAR6TJJG2JEg+QDsf8iq/iiMPfXDYULiJjtHH3RWho6R+TcRyD5fJI6d8cVL1RTXul5fEviaCK1kttSKK65IMan8+OeK7yd7pvBd3q97PIZFtzJcxLhVZFU5wB3YY6149FdTs1nDIwWAW2U/2mzz+QArtry58WX/hzU7GGfTpIZI3TydwEhiEfX69K68PHndm7HPiHyK6R5Y3i/WdUuYv9MuPs64VIfMO0AdBgcZ6c1v6PqFxfXtrL/Z8kqSq6mOJcmRwOu3nPH615dHcSRxYV2HOeK99+FPhO5m06S4/tEiDKzW08Q+ceYoLJz0II5/TrRNX0JpzcZXL+k6LZR+E4ozpH2HWLcG5G+LZ5jK3y5JHI+7n8ai13WbS0uZIbS8JkdUMzRHIVwPmwR054wKyfiBe6pF4t+x3t08sGnRq1oxyu4uDuc+rdvQAe9cQ/iApKwWPdGnB2jk03BWO3DUuaPNLYy/E08IuisGGDc7vWufUbhxW9fzaXcXsN8ysIgxMkC8Z44+nOM0um6Bfa9YvdwQLFIik7W48znt+FZuL2RLpNT5Yq5hgbZEOAdvJFdb4a1KeS5tRcpEbdLhNjOAvkjcMspH9eK5eJf7Ovke+tGlRXIkiYkZwOn+fSunvbvR7TTLO5tJBPFLCcRdNpzyG/God1oZLlu2zpvjzpNt5XhqfSlEkTRzJ8rbmPKnJP4mvHEtp4UPmQyJk8blIzWmdanJRh8zbuEzwqjt9KnfxBLJfs90gkD87j0AHQAentXQjkdjGnUplWBDDggjkUyOAyDcMfL2qxqDeZO8hzudtxB9TVVuPlU5NNsSNq11qIW/2a7gBVRgBeKyb2CNZg8OPLZsAVFFGZ5TnPAzT3RY3ijAIyQxJOam5aTbL0nFvJVeNVaBFY4BPJqxcn/R5Pes6bPloR0HBqIno4qXK9OxrRTR27pPEyAgYAPftzWrp2oLeSvEcLIMEqGyPrXLRWM0s/ljB/wBoHiuh0K1jRZZTFtkVggY9feorKLV+py0Zz5rM37dM30Lbs5kzxmtvUIZLmyeJHwzEHJzg4OTWNZKBdW5JUkkHit1mGGBIx+Fc0XudUkc9Pb2ETfbtTllDtcMlvHG2PlUck/ia0refTNSjtoZbhNsCeXEH5wvp61zetxSXMqxMnzKzqh5xsznP1yTWQ9uLJACzySE4DKeldUbWOWbk3ud9cWNjHMUhCSr2YEqPyzWR4q01dOhUeYsgk5G0sMYPo1V9FEVpp8rzm7kuZeUXeAijtnvmqesTlIvMkOQxAVSxNV7Jx1sT7VNWuSaBHiaRsggx9Pxq2yeo7Vnaf4rVZVgkgjSMjbuUbQPrVu21KC7RyrN8pweldNOV9DlnHqMv03WmMleF6HB6miprhopYtokxjHUUVnXjJy0NaEoqOpsz+HGPhCDT7W4gS5E5aTLhsoeePxArFj8M67HJuC2z7TwftI5/A9Ky4PEl+GG6RTk8blrVh8TSqv7yBW+hwa3oV3S+FtGdSLnujX0/TdcttTtJysTiKYMTJcgY55IAzXSahYW00t1epNem6eTKR7siMHrt5x+lczZa7a3jKpHluezVrA9DRUiq0uZsUakqStYgi0/U77Vy9/NPC4ULC6KGjRR0BHQ5+ldN9kmYxt9oZUEOwbU6HucHnmsMY9KeBWbwifUtYproQzaBP/ZhlFzLLdq6uqF8K/PcBf0zVuGxu4IXuZnuLi4KFRD1VvZQB8p+pxSKQGB5x7UbsjjP50/qsbEPEyYXNnLqPhmHzIr621C2fEY2rh0J5B6jp7jpWG2mapqV9GLK3bYwCbpR5eW7k9McVuBmXozD8acJX/vt+ZpfVFa1xrFtGdqWmXOkta+dG8BVSkuyPzTKo+6cAnH9addyb4njitLxiyYVvs74OR64xWkJpAMb2H/Aqd50mP8AWP8A99GpqYKM+oRxbW6NbQLQp4VtVngjWSPUFuFWQYaRM4I+nel8QXVzHe3LQSrFa73cC3TIx1BzzkY7CsoXEwGBNIB/vmkNxOTnzpP++zVfVfdsKeK5pXaKeuRPc3MkkcMrxssJb5TlAVHUdelX7FLmzt57s2s0myMHbH8wcE4BGfQ00XVx/wA95f8Avs04XVxjH2iXB7bzWawT7mv11WtYw54nH2VXtZ4JYQUMZwT1yMY6jnrXN6zObCzvCbk/b7qZ4zGCRJGgI5b0yOgr0ASSb/M3ZcH7x5NJKfPYtMqyuerOgYn8SKuOFae5M8ZGStY8PVmDdvzr1LQfHmo6Z4MsNP0+PIDsJwq4zg8ZI5JIx+VazWtschrW3OfWFT/SpohHCFEcMKANkbYlGD69K0+r66mUcRFPY5nxx4quvEOqSMxBlCrAuwYwB1/E81yc8nkRCJDlicZznJ7/AF+verkWGlvrmRtoad8N7Z5x/KsxZPtF15gXbGgwi+grnZ70bKKsRs2bqOJunII+orrV1SSx0weTIwdlAXHQDFcddMY7xH9DmtRpU/sxX3/OBtAz0x3pRKpz5XJFkMNc8wbybpPvAH/WDsfqK5xYv9LS1kmEVu04Vn7ICeT+FLpl1NDqAuIH2yKQV9/aux0rRbDVZ7tL203ods0UqsUyGzkcGtFHmsjxq09ZTZwd1F5F7LAkiyBHKK6nIYZ6io/nZhG3VTge1eqnwZoJlD/YmGOirMwFNTwToSzmUW0x77fPbA/r+tX7CRh7aB5ykbXDrvcZ7ml1GBbaKEiJkLruVj/GO5rudS8JaXaWkt1Zo6TIpwJZCykn1+lcVq0r3lxCmOIYljUAdhWU04uzNo+9HmRXt4rqRd0EJdnOMAdfpTPJRVYuzi4UkGNlxiu08JWKusXmN9wZKnsa07rwXZXb+Y97dbjnnC9zn09aapyktClUjB+8cFdODZqcjLAZqK3tZLvbCCq72ABbgD3PtXdv4Es2jCC+uAAOPkWsmawt9F1QwxyG6WNVMm/5evOOOfSoqQlTjdnoYedPF11G/Qp3mj3mlwRsxWe3Y7EmhbcufTPY+xq1ZWs1pbzySnBYAgD0FXZNVg86GSzWW38z5Hh8zfg9iM9VPoc4Ip9no1pf30lybh+TvMKMQh9cAe/aseXnfKmbYjC+wg6kdYr716lyxA+2QKCRzyOv9a3JD5cTu52ogJYnoo9a5aXwhcRyh7TV5owOzEkj8RWXr9jf6bpv7/V5pllbZ5RJw3c5qlhJRR531uLZJqPiq3uDNELMNERtSYPh8Z64PHNZelpHfvuknP7s5aPGCR9fSsJic10Xhd7YpdxusYuSFMTuCcDkHp+FVNKMdDJVWndnQbo8DESn8+KydYnsjH5E5CyfeQjPympjfQhf3kkauv3gM8H06VyE8zzyySuxLOxJNKCm/iZc5Qt7qL3yzDZChLdtoya27WOK2txGseGx8xB6n1rndObZcphtp3DnPH4+1dH8p4E0R/4EKpqS1QouL3ELA/xnH1ophjcdApB9GH+NFF59bjap9DOjlVUCFVYd/wDa/wDr0hbZ8yZK+hrPDsD6jurVZSYg5XP+61UzNMuJcxk5YFWHetiy1+7tAFWRZE6YIz/OueG2YFQo3deuDUO9kO08fWlqth3vud9D4lnfgCHPoUqc69d44WD/AL91wUFxtPDEVtW10WGwsucZ5PWrVR9SXBdDpf7evsAhYAcd46T+3b04z5P4R1VgggmhVxfW6gj7rE5H4VJ9jhH/ADELfHryf6VXMyLE39uXuMZi9sxilGuXpxgQfQxCoPs1qP8AmIw/gjU3yLTGP7Rj/wC+Gp8zDlRb/tu9z0g/COl/tq99Yh/2zFVhDZd78D6RNTtmn8Yv249IjRzMLIn/ALbvh/FFx6xCga3fcfPH7/uxUBTTs/8AH5N/35/+vR/xLM/8fM5+kX/16LsVkTjWr3+9F+MYpf7ZvePmj5/6Ziq+7Swf9dcnH/TMf407zNKH/LS6z/uD/Gi7CyJ/7bvTn5ov+/YpBrl7yMxfjEKrmTS16tdn/gK0edpZxlbs4/3aOZhZFr+2r3Gcxf8AfsUf25e/9Mj/ANsxVT7Rp2MCO7+mVoe408IWSO5DKMgllxQ5MFFXOe1ER26RwTl4UIz8ykbj3NU7Zrfe+2UEdByKtavf2uoJgq+8d+1c61qhbIJ9651K+56n1iSexPekm9I7DGKnu5WXTQAMLkjPuaLbS4JSG/tFIz/dlQ/zFdHpFta20c0d7dabdW8sezyyzZPPB6ZB96TkkTGbak+5x9luVsrwxGRXo2nXstvZrNbLEYZQoG9e4HPGeP8AGsseFjayx3WnvHdKG3CFmDH6Z7/lU1ldxpqDWf2GZRgt9nbKFcDk9M9zW0ZLdHFKOlmbX9s3JH3IP++P/r0v9tXGP9XD/wB8n/Gqn2y0xxY/+RzS/bLbqNPXHr5xrTmZjyon1a7kfRt0iIu8Zwoxn0rkLKwJSaUjLA4NdIuuXto5/wBGint+gQDJVfTnrVzTZPDupFlt7hbKeQ8xyA4z6Vg7812dStypRKfhu2O8k5HOR7jv/StN9YkjkaP7NCQrEA5btWsmjTaeU8qAzJ3MPzdRWW76dPeTWyfZoruN8NFdO0ZcnoVPTmtVKy0M5xcuhF/bb/8APrFj2Jrl9Wf7RqE020J5hBKr04AH9K6K5cWk7QzaXEki8keaxH51QtpbC9u7uzvbFVQKZN6MQQPZutZ1ryjY6cvqww9Rza6HIanCQYTyAQc/hWr4dupbW9+bDDbt2noM1al8HytGl5pV2b63ceYkDtiUfQdG/CsyFZbG4QTxtHMrBmSRSCTnuDXPdxaPWg44jnktOZbfI7H+1Xx/qE/M1DO1rqcbQ3kMSjHyZPc/WkN8f+fO2B9Ch/xqvdTpcxmOW0tmXrxHgj6HNdrk2j52KUZXscxqvg7V4CZ7ayNxa44a2PmEfUDkflWRZXd5ot+s8Jkt7hMgFlwffg1PB4g1GxmZrS5kiG47QGPArotP+IdyT5WtW8V9b+kkYYg/jWVtLNFtRZyF1cyzXUsrv80jFzjgc80kdpPNsWKF5Gk+6FGSa6q68T6fK7PYaPa2cpPyslssm76hhx+FYU2rs1yJYgYtvQRII/0FP0FypFa1CQXQFyp+U4ZCMH6GkectI/lf6sElQRyBWx/wkltdRqup6el2w6TMdsgH+8OT+NWL+HwxexNc2U09hdSHIhfDxZ9PUD86ObSwctzntxK7gfrmip3tWUhjJEFcZ5b/AOtRVElTHODSiQqRnnFWWj3rvAyR2z1FRtBuG5TkD86golWWKYdNpHenMvygOQ3o/wDjVAqVNSRysOM8GiwXJyhXkGnxXBQ4NVjIVJwTg0m/JzSHc6K0ugzKexO1v8a09vQ7eK5bT7tYJWDoHVhjntyK7lfENgq7Rp4LY9M5q4ikZ2Du6dKftOcYJPYmrv8AwkRHCWNuq+4pT4hn7QWq/wDAOaokohG7ginRq+ejfXFWh4jvc4WK3x6BKP8AhIdSJ4aJc+iCgCDypWbiNj6/LTha3DdIpOT/AHTTzr2pnkXIH0UUf25qZyGuAPTHWgQi2N2c4gk4/wBg046bfbRi2mz/ALtRf2tfnhryYnHY4ph1G9breTn/AIHQBaGk6g3H2SX8utSDRb8ji1YfXArNa6vGP/H3P7/PTDcXPe6lOevNAGx/Yl+cZhxx0LAUr6JeLGxYRjCknMg6VieZITkyyEj/AGjTS8h4Mz4+tALc5x2Ibg8ZquZpFY/d49qsyjO761Uk+9WGh31FbYeLmX/Z/KrEUjsjFiPlGeBVTFWIIy6yBWPKkcUmkFO9zW0vUGjkGJG8pxtcA9q7LTPEljZwKb1oblVb5JXX509s9RXlMeN3JwPrXRaJYSXcUrJC08ROxtqkjPpVRp63TMHW02OxvfGOlX0qpbq1rExwJGiVskdmB7Go4ZtNuWmeUz2wjxu2x5X8skj6Vlr4dlK4j09xn/pn1/Otq1sru00O4hFq4llcAl8YCj61olYylPmIbiTR0gkMN7I8gU7QQFGfrXPHTz5rXS7HRRvf5hjH58/hWvJod1PbSRiGMblOAJVB6fU1xf2EnT5Xha886NsvE0eAE7nr6+1KT00Kpxu9TrpNX1TTLOK3t7pXt7lRJbujZDDPIJPIPbFTTS2+oRiXUDNJd4GJFC4X2Getctot1qNzYvptvZpdRI29NxwYmPcH39K6+z0svaxfabmKOcqN8YGdp9KHKK3F77WhJHc2CAFobuVsY3PP2/KuN127ZtSmMO+Ndx2jdkgema7X+ydqn96GwfUAEfnWVqHhBbmVplunTcckYDAfrWU6kNLM6KMZJSutzl7bUrtmhVrx0EAxGQentXQ6Z4mSS6mm1+D7eqwiKEMgO0ZyfxPHNVn8I28Z/d6zGJMcpJGB/JqR9ItLaLCazYyyLgjDsuR3ByOv4mpck9jakoOylo+5vHxrDN5T3Gg70JwDtJYKOmD3/GlvNYSSxuHS1EKFGxmEB1H59ai06SyW0SH7RYyTIPmJkfjn6YpupTQxWx81rMRupUiNg5I/nVqpFHNODcnY4u2fS7e6SWWCa5jQ5aJiFDVDqb6e9wjadDLFFsG9ZW3fN3x7VpsumYACgjpkRN/PNM26WseGsZJOeHQsv86amn0IdNrqT6bORoTQpKoLFiUJHJrImsppJSyx7R7kV01nrdnptotrb6VMG5JdnQ5z65Xn86lXV4rhiJtLjCju0SN/ICiU2KMV1OR/s+fOFCMfQNTotLupJ1hZRGW7ucAVp3MbT3bug8lDnCRjaPbioRBK8Z3zSnHTLUKQ7RNBvC+pQwJumXA7q4x+porOe0UOuSxHcbiaKOYVl2KPmGMggmkM21zg8GoWOaaecfSqIJWcseKjbrSx8tjvVh4VZC4+8p5AoAgblQaZUrRnZj8aiII6jmgB8b4YZrqdLguLq1XbFI+0kZCnmuSrrvD/AIhuLPTzbxJGcNyT1prcOhoDSL4sB9lkznsOBUo0K/fpbMueMkgYph8R6jJ0lVT/ALIFR/25qUjYN034VYi8nh6/L8xqB6lxUo8M3/8AejHHrWV/al85O66lOPRjTTd3Dna88p/4HQBtL4bnzl7iFPz4qRfD2D+8voPcD/8AXXOM7nqzNznmkKqeNh/OgR0f9iWaDDaog9elIbDR4iN+p5+mP8K5zyk28DJPqaXAA+UUAdB5fh9Dzdyt9M4/lQJfD0XOJ3PXoawM8AFRikAfshP4UagdAb/QI8FbOVvr/wDrqOTWNIMbBNMy2CMtjisdIJ3AAhfkf3TUh0+72Fvs8mACeV6UWBbnNPnmqkvBq9KvUhlI+tUW6HOKwPRq7DVPpV2zx5qjseDVAHBq9po86/t4gpZnkVQq9SSaGiKU0nqZmPmx6Gux8M32oWmnLBaziNZZC2DgZPTqfpXRR6FpvmsstvCCDghokP8ASrd5plmlgI7e2gGfl8wQgCP34o9qrHN7PUz0utbmkkTzrgyR/eVUz/KkuE1KUBZknYN0Us3OO+GWrq2MtqY4rlBFICTHzj8iOo/Oq11qttCfKvSI5Iz8s65C7vb5T+I71xyrTk7NHVGEYGW93b2SP56FWBwT5g3D2wCP5UyHxE0MkclmJpJt2FbDJ19810Wk6Bo3ibz5ASLs/NIFk4I6ZXK9DVLW/DU2hXERXdLaZ+WQjlT6N7/zrWDXzFOctjKbXtYMs0kLpbbeGMajJ7fwgZ/GpI/Et0lsyyX0s8mDj7TbhufQelVvNhtraaSVhyc46k89hUxt1bawxtboMVTMkyhm5upA8tzLtYDciNtB/AVXaxzIy72IY85YmtOJAFzxxSqo359etXYi7Kf2GI3Kt5a4UcADrTFtAJ8+WG6ngdK0VVd2c8inRoC2c+9FguU4oJvmaGVo8nkL3pr28rSBpyGwCAdoH8quI/75o0O9t2QByaS5lSOFWcqg3d+Ky15jR/CVJLceSq7e+aQ26iNVx0NKb60OR9ojHH96mm+sxjF1F/31W1mZXGywgyBsYxzVyzUrGwKjJbkH0pk8bW6RzXAKRyDcjNxuHXIqOC7jd28t9y+vY1Ek7FReok6j7TJgDrUIUDipJeZXPqaZ26U1sIYyfPz06UU4N8xNFNAcyFyKdkRtg+mKfGP3Lv6Ypu1XXIbDD1rUzJIotzBuxpfNMbBkPswqJHdBkHpQ7AksvBPWgZZKiQb0POOVqIgOOR0qHew5DUCRs5zzQAvlqTwT+NTWzm1ffye2KbHknABJ9qlaGQ4RomBPIz3obGosc95I8octtx0ANOW8KzBoevcZzmp7Lw9dX8fmRSRqv+1mr8Pg6+EiuZ4uDkYzRc0VKb6F2xtxexqRL5fO3DK3X64rbXw3OeTPGB7AmqkGm6rbx7UvlUMck7epqe2sbtbgPe38kka9FVjyff2p89kL2E77Ew8PoGx9pD8diAf1qxbaBYl/3wuHA/uSoP51GbnThc/ZvNAmxnaFJP6VIrGRQ0MZ5bqxx+PBrn9pPuaeyh2NGPQdF4/0e8LD1kjb+oqWLTdBYlIkmaUDcUMaEj6/NWUyO26JtRETN0AJUj8cf1p9tpsdkWYbAzjBlAyT+XH44quadr3/AAL9jFK7ia9rp9o2RJaTwH/r3Vx+jVQ1e+i0X5pIAY2OIy2EaT6LWTq+uR6YPs9tJ592eNnQR+7fn0rmCl7fTmefz7iZv4thO32HoKuEpyd+hhU5EtFqdG3jHn93Yj8XqFvF125wlrCv1JNZcej6hKvy2cw5xyuP51Zj8NaixBMCqP8AakH9K2MLlPU9Re8s5kktrVOPvJEFYH61ymW6ZNdlq3h+5stLmup5IVRAMgE5PP0rlUQlQwHXpUsfMyvg9c1a02b7Pq1nOOPLnRv/AB4VC+0NjLbh2qLcQwPcHNSCZ9HCG38wSebtYndjir3mRNEUEiDPpjJrI0+MahY2tyZWG+FDhQOeKmMdqh/eTttB4AGDn6ivDcqlGTsopN97Ho8sZrVsgvdOuEhMdnAlxCTlYXk2GI/7Lensa5KXRpVmli1WyCLKC6hZcsRnnkcV3janZx2z3MsrJFHyx25I/Cuf1Y6ZdXEeLqT7TOvmxS4+TYcd67ElUhzQfzRnfllyyMjSPJ0S4M1ueCvl+cQTtHo47Hgc9K2L/VLi6hMckcE0RBWSIrjzFPbOeD3FY8yz2cu12aN8Y3LyGHuO4qqdT/s+MNNMEgzyjjO33U9x7dR71xTjXTvFm65Lao5jUNFh0bUrbUrYyz2Dkgj7zoxzhasT6tZLIqLPtYgEh1Kke3NdEurWUcv2y2vbWQNgvEGHP+0B2P8AP60zxdLb3XhG6uIfLlXKAPgEqdw49q9DC1XVjy1Nzlqw5HeOw208PGezhmF2myRAwwueDWB4imbQdRS1VFmDRiTeePXj9K7TR1S30azSKMIvkocDpkgE1yHxEiBksLkYyQ0Z/Dn+td3KrHMm7nPt4im52wRj8TTD4iu/4Y4h+B/xqrpMST6vaQyLuSSVUYY7Hg1Hf2cmn389pKPnicrn1HY/iKVkO7Ox8Mabaa617c3ySCWN0CmNyhxt6cVU8Z6ZbaWbb7NPcsZ2ZnSWTeOMc81e+H0iizvl3Df5inbnnGDzWb47vftGrRWwwVgTn6tz/hVW0JOWJPbpVjTbZbzU7W2dtqyyqhPsTVduep/Cr+hYGtWrkZEbb8fTkUhnW+OXuA9pCkEYg2OIyH54AyCO2BXPwGe00+GSW0nWIqGEm3K7T0NXvFGoyXUlru/gWXHHqMVk3YuZ44XMcxgW3RcA8fKOtDSYJtGoHW6eAWciTPMCxXOCmOxqzb2yzWepys7BrIuAVGVfaPWuVTCJuBmjLL94Dg//AFqnstUnsra6tV5juFKtn6YzSUYg2zp4bON7vR0dmK3cDSygdiBniisK38R3EV1ZTSQxv9kjMSKCVyCMc+9FVZBdmSHwhXPBpmTQBk04gbfekA3caM0UYoAXJxinpt7j9aZjmnbfegC3bOqSc5I9AavNcROhQxYP8Lbs4rJQlPpSOxJ4NQ0axquKsdRo+rRWk/2d/lEh45zg11KSMSAXOa8402CSW8jbspzmu+iuAEXCkn26Gi1jsoTbjqaCyMOpJ+tB2uewPqKpfaHOPlAoMz5zn8qRvcmkTa+8qHPTcBz+NPSaHGXGG7gn/FqqrNJuxkkfWmzEhGZWaOQjhkPIPrUTgpESjcvrNbN1A2+m8frzXPar4lR2+z6THjB+e4YfgQAf51kXV3ql0j2l1dtJDnkcDOOnamxwhF2qPwHFKMLbnFOb2RLpkYW7jySS0i5ZjyeRya9K3A5wwIPoc4ry/VbWa00xbl0xHM3lqG6kYyTXW+GtF/seGVvOEhuAhAA+7gf/AF63jcwZ0m7/ADilzz1quXAHOaQPjrn25qyTlfH9yTb2drk4ZjIQD1xwK4vdJHEFViBiuv8AG7oZLUMPm2HnPTmuXEsP2VWlRmI6be9SyGyrsZIjI5wD09TUBqaWQzyZbIx91cVFtOOnSgpHvngky3XhDTpVRmAh2ZA7qcVrTaa0zF9sysfQcflivHNAtLu900GG58tYm8vaXI988fWpLO8vbjT7m9iu5EjtywYGUgnAzxXJVw0amklc6Y1XFaM9eg0/YwLeZkDnKDDD3Fc7rdhNpybouLLzPMjYrkWsp7kf8826MO2c+ted23iu7kkEaajdxkjq0jY/SrLeMNRgkVP7ZuCWHUSEgfXNFOgqStBWQSqOTu2duPKn05Z3jYWpJVgeWtZBwUPqueh9MVx/iI+XFGIpwV3E5R+SPfFQL481Hb/yFpiD1DDOf0pP+EzuTy11A4/2rdD/AOy0/Za3GqmljnJbaXzPtKRNIuctgZruvA0H9oWWo2tyvm20kaA27DAI5z9D05rOg8ZXeSsP2NieSFtUzx34FXx451ZIvMKWvlqeW8kAfiRWjTkjO6R0ckC2EUccbkwKoRGJ5wOMH3rkPG7wvZWpJLusp2oBwcjnNWpvGt7dQSRS2do6yDkrGQfqMHrXKahLM8X71fnX5kO7GP8AGtIybVmKyUrmZFLJb3q3UA8toGVgCec1o+LLmO81hZ42BzEuQB0rGLkybmbPTOeaWc77hsDAzgA9qpbEyd22XtD1JtMv/NUEh1KNj0o1WZrvUDdnLiVhgEenas45jcjPIOKvx30909nbhIcxyZQsMDPv7UXY0o2d3qTKIJmEU0JRcYDAcr78VWgnbTL9ZokEgAOzzFxnPHrWlqe8Wu+bUUlcHiGBNq+/NU5hZpar5EG+XA3szZHv9KtyVrWIV7hquqm/8k+UqMisDtOQc1Yj8SyrpzWjWsZzH5YcEgjjFZLmNuQpH41J9imNk15sIgDBNxx1Ofx7VN23cZaW5lc2sUt0EhEQB8vggDsfeobiBS+YULA8li2SaIrJpLJ7klAq8BQ+WY+y/wD6qgWN8/N8n+9xQwQ3y2DDCnNFbVhY/bUkRLhjtHzErwM0UJXAw+gPf3pRjB9cUwHFLmkAlL9aTNPVCwoAbmgZ7U9omHY0zBHagdmLuI69K0LOyhvBhZdrDqPSqsK4B3qSOwzV2x/dXayRx/NjvUs1px11NzSbTy4trgFwcZA61tKCo6AAeprOtjIVGWC8c4FXlUdznHrSO5WS0JfMQHqPw5px2nkrj8KYgA4GB9Kkz7Yz1pFXGbRyQcYpQwIPc0Ngcbqbznv9cUDMvVLYJKJh9xuOlaGlaMp2T3SEd1jbqfc/4Vai2tKocK2DkbhnFaW4fNzVRS3ODELlkcr47bNpYxjvI3H4D/GurQ4jVemAB+lch40YSXOlx+rt/Na6wkBiD2rQ5iTeQOuaN2aiL8+3eo2cgHnH1oA43xTdCW5ZeoU4H4ViqdtnHhcscn9afqcxnnIHUnApb+MRrGicGNcHHes0y5xvsQpG0jbUwM+vaoJUaPKt94Hacd6ktWYswaUIMdTV2LTzewT/AGcNNKqlgfp6epp3M1Fmx4RuEjt7mANtlY7hnuAKr6W+PCeo8jLGQ9eegrC0+9NldpLg4GcgdcVSp3KNjw0hfWUA6hGP6Vf1hkOv28e9SY42DDP3Tg8GuZDMrZUkH1BxS72L7iSWPcmgDQtsXdnDYxQB5zITuJwBmrWsaTb6bYQ/OWui/wA7BhtIx/dxkfXPNWtGki/s6FY4n8yKcvK6pkH06c1B4gvFu4o/lh3q2GZCd30wQOKq2grmPbzz2jC4t5nik5UNGxUj8RWne+IJb/Svslx5rSfLmQy5DY7ketQmzEtrEUAGIg7NjgH8KqPboCAJAD79KWoWOijh1G6jQTXltZRhQBsGWxj2/wAazrzT4YtShUzyz25wZJW5781TPmEs3mCQ+oPOBUSyv/CxPsRmo965fu2OonuNFEe1YFAP/PPiucuvsjXZEIPlnoT1zSpHPIcGLOemeBVr+yLmVBttwCe4Y/1qrt9CdCvPbFbTz2iWNWbAVW5+u08496phowwLKQB/dODW7DoF40eyZ0Ck5xySKtpoEcK5B3nHTHWqsK5hXGn3cEEMrxybJl3REj7w9fzqJLVmHJKH+6VOT9PWur01L4hjfhnAOIzK+4qvpWlxnOBQ432BStucrZ6HJcR7mLoM4w64/Srdv4fmV3WeRWtz/ACfz9q3i/bmpYYJ58bUO3+8eBWlOlKb5YK7IlNRV2Ytvo0drc+csxIIxs2itBlQrtZVK+61qSablBtl+f8AiyOPwqnJp9yM4AbHo1dk8txVNXcH+f5GMcTSltIqDag2IFUDoFGBRRKs0QKsjx556cmiuOUZJ2aNk77HBlDSbT6VqfZU/ipDAoHAzXPc6fZMzQrHtWlZxKEyetNMXtirFvhOtDZUIWZIYQ/Cj86rvaEcha0omDY44FWAIm7cVJu4JmII2GAV/StOxtwo3MPmPtVxIIs52irKKvoKZUYWdx8QwOpqdf0qMYA+UAenrTu3OaZoShufWl83A6+1Q5A46fQ00v6j86QibOTxgepJ6Um5e22q/mHPX8M0B8+vtxUstFlXw3uPStJJAyK3asbccVZt5gUKnBIPrzVQephiY80b9jG8UOJNc0pB2YZH/Ah/hXSvcc/KOp71yetHf4m01emNv/oVdEWJLEH6VocBO07t3wvtURkGeTnBxzUW4+nSm8kjGfemI4lxjVgp6CT+RpLyXc59afqA8rWpB6SVUnPzGsy76FuyNmLdxdQyPlshk7Cuo0O50VZV2TFXH3SxIxVTw7FENJ3umWaQnp2q+9pYSEloEPvtwf0p8lxc1i1q3hXStTDXdtcrazEFiy8o/wBR2P0rjrPSy1l9pkiie3JJJLEOAD27VtXVraxLw7x5U/8ALQgVRgiP/COmQZxtJO3kZz39Kai+omznGUGYqvTdgZq3PpjwzCJZUkbYXO3px2qrsZmkI/h5PtzWm1wJ5RLnB+znJ96AI7ZrqKGJQB5QYv8ASoLyQOAPLRWzklR1q4rH7IrtztUAflWdOxdQdpC57ile7sPlsrk9t9kcATySRADqq7s/hkVflggZYfJgYqozJukxv9P92mWWkrcQKzO/zgcLWpBpNvEhBUvz/Ec5q0QypaTW97A1jHHHbxM2WQfM2R3yee9aUWk2kQxsLeuamjt7aLBEKK2Oy4qb0wfy9KrfcQ5YYowQqLj19KmBxjaQP61AGA7/AEFKXUAD7vvQBMXxnp+FMLlT2OO9RF8kU0H/AOvQBNv/AEqMuevb2qNmJ4B/M0zcc88D1FMCTcRxnNSRXlxCMJM23srHcB+da/h/RtG1Uhb7XxZyZ/1Ji2k/8DJ216DZ+A/D1oiu0D3PcNPJuB/AYFdFB1YPmpuxlU5HpJXPLl1aZfvxKw9VOCavWt0t422JXHqWGFX6npXc6p8PtGvAWszLYydQEO5P++T/AENeb39zrGg6hdWbSwzQ2n3t67Wx6gdcGvVo5tXpO1aV16HLLCQmv3a1O70fwpFPItzqV3DPAORbW75Df77ensPzorzu08YQzMW8uSCUfxI//wCqisa1ZVpc7qXNKcJQVuU//9k=" 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<span style="font-size: small;">When the Pathfinders Came: A Cultural Journey Through Colorful Colorado – C3 3<sup>rd</sup> grade</span></div>
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Some of our favorite projects each year involve working with students to <b style="mso-bidi-font-weight: normal;"><a href="http://www.centralcityopera.org/professionaldevelopment" target="_blank">create original “operas”</a></b> based on curricular studies.<span style="mso-spacerun: yes;"> </span>This school year, Emily Murdock worked with 5th grade students and 3rd grade students in two Denver schools to create shows about American Revolutionary history and Colorado history. We know from the teachers who work with those students regularly that they never forget these experiences (or the information they write about in their operas).<span style="mso-spacerun: yes;"> </span>A student commented, “<i style="mso-bidi-font-style: normal;">I learned that making an opera is a BIG BIG BIG job</i>.” Studies show that students who participate in the Arts become supporters and attenders as adults.<span style="mso-spacerun: yes;"> </span></div>
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<span style="mso-spacerun: yes;"><em>Find out more about Central City Opera's <a href="http://www.centralcityopera.org/education" target="_blank">Education & Community Engagement programs</a>.</em></span></div>
<br />Central City Operahttp://www.blogger.com/profile/12863429946904896103noreply@blogger.com0tag:blogger.com,1999:blog-3598316967039095354.post-41237394135175683872015-08-08T08:00:00.000-06:002015-08-08T08:00:00.388-06:00Spotlight On: Troy Cook, Baritone (Giorgio Germont, LA TRAVIATA)<br />
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<tr><td style="text-align: center;"><a href="https://centralcityopera.org/wp-content/uploads/2014/02/TroyCook.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://centralcityopera.org/wp-content/uploads/2014/02/TroyCook.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://troycookbaritone.com/" target="_blank">Troy Cook</a>, Baritone</td></tr>
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<em><span style="font-family: Trebuchet MS;">Editor's Note: Today's blog comes from an article in our<span class="Apple-converted-space"> </span></span></em><a href="http://www.centralcityopera.org/insider" style="color: #940f04;" target="_blank"><em><span style="font-family: Trebuchet MS;">2015 Opera Insider (Festival Resource Guide)</span></em></a><em><span style="font-family: Trebuchet MS;">. Deborah Morrow (Director, Education & Community Engagement) interviewed Troy Cook. He plays Giorgio Germont in <a href="http://www.centralcityopera.org/traviata" target="_blank">La Traviata</a>, which plays its final performance today.</span></em><br />
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<strong style="font-family: 'Trebuchet MS';"><span lang="en-US" style="font-family: Calibri; font-size: 11pt; font-style: italic; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;"><em>We understand that this summer’s production of </em></span><span lang="en-US" style="font-family: Calibri; font-size: 11pt; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">La Traviata </span><span lang="en-US" style="font-family: Calibri; font-size: 11pt; font-style: italic; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;"><em>will be your first opportunity to portray Georgio Germont, a father figure and the antagonist in this opera. What are your thoughts about this role?</em></span></strong><br />
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<span style="font-family: Trebuchet MS;"><span lang="en-US" style="font-family: Calibri; font-size: 11pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">I think that Germont is driven by what drives any father, a deep love for his son and family. However misguided, he feels that he has Alfredo's best interests at heart when he asks Violetta to end her relationship with his son. After seeing what the break-up has done to him, he realizes his error and tells Alfredo the truth - just in time for him to say goodbye to Violetta. So at least by the end, he is able to see that Alfredo's love is true and that Violetta's intentions were honest. I would like to think that if there were an epilogue to </span><span lang="en-US" style="font-family: Calibri; font-size: 11pt; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;"><em>La Traviata</em></span><span lang="en-US" style="font-family: Calibri; font-size: 11pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">, the scene would entail Germont begging for his son’s forgiveness and the opportunity to right the wrong.</span></span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11pt; font-style: italic; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;"><em><strong>In some European countries, singers are hired by a company to perform an entire season of operas (called “house singers”), but in America, opera singers (and most other performing artists) live an itinerant and uncertain life; having to audition frequently, hired for one show at a time, and traveling from job to job.<span style="mso-spacerun: yes;"> </span>How do you cope with these circumstances, and what makes it worthwhile?</strong></em></span><br />
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<span lang="en-US" style="font-family: Calibri; font-size: 11pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">It is indeed a difficult path, however, the personal rewards for me have been fantastic! It certainly helps to have a great manager (as I do) to facilitate having a full calendar of work. That said, when I do have down time, I really do enjoy being at home! One of the ways I cope is to invest in the cost of travel for my husband to come see me wherever I am, or for me to go home whenever my schedule allows. The financial sacrifice is worth the personal gain. In the age of new communication technologies, I certainly make use of Skype/FaceTime/texting etc., which really makes me feel like I am closer to home than I actually am!</span></div>
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<tr><td style="text-align: center;"><a href="https://centralcityopera.org/wp-content/uploads/2014/02/BohemeCCORodolfoMimiMarcMusetta.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://centralcityopera.org/wp-content/uploads/2014/02/BohemeCCORodolfoMimiMarcMusetta.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #222222; font-family: 'Open Sans', HelveticaNeue, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 12px; font-style: italic; line-height: 21.4500007629395px;">Central City Opera’s LA BOHÈME (2012). Pictured: Eric Margiore (Rodolfo), Elizabeth Caballero (Mimi), Troy Cook (Marcello), and (Musetta). Photo by Mark Kiryluk.</span></td></tr>
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<span lang="en-US" style="font-family: Calibri; font-size: 11pt; font-style: italic; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;"><strong><em>Baritones get to play a wide range of character types, from romantic leads to comedic leads to sidekicks, villains and father figures. You’ve done a large variety of roles in your career; do you have a favorite character or character type, either vocally or from an acting standpoint?</em></strong> <o:p></o:p></span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">One of my first favorite roles was Papageno [a comedic character in Mozart’s</span><span lang="en-US" style="font-family: Calibri; font-size: 11pt; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;"> <em>The Magic Flute</em></span><span lang="en-US" style="font-family: Calibri; font-size: 11pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">] because I felt that he was a lot like me. I even had to fight my Papageno tendencies, as I would call it, when I would do other roles. As time has passed and my voice and I have changed, so have my favorite roles. Marcello [in Puccini’s </span><span lang="en-US" style="font-family: Calibri; font-size: 11pt; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;"><em>La Bohème</em></span><span lang="en-US" style="font-family: Calibri; font-size: 11pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">] has, for many years, been my go-to favorite character to portray; however, I recently had the opportunity to sing Rodrigo in Verdi's </span><span lang="en-US" style="font-family: Calibri; font-size: 11pt; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;"><em>Don Carlo</em></span><span lang="en-US" style="font-family: Calibri; font-size: 11pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">, and I have found a new favorite character. The vocal lines fit me like a glove, and he is a complicated, multi-layered character. I really enjoyed figuring out his psychology and what makes him tick. </span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11pt; font-style: italic; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;"><strong><em>Does the type of theatre (large, small, good acoustics, poor acoustics) affect the way you perform? Since you’ve sung in the Central City Opera House before, please comment on what it is like to sing here.</em></strong></span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">I have to say that the size or acoustical quality of a theater does change my approach to performing a bit. If a theater is incredibly large, I am always thinking during staging about how to position myself so my voice is always going into the theater.<span style="mso-spacerun: yes;"> </span>However, I don't change anything about my vocal technique. When a theater has a dry acoustic, I have to be extremely aware that I don't try to over-sing because the acoustic makes me feel that no one can hear me. </span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">Singing in the Central City opera house is such a pleasure!<span style="mso-spacerun: yes;"> </span>It's very seldom that I get to sing in such an intimate space where you can actually feel the audience with you. Also, to hear a full sized orchestra in that small space is incredible as well. It's almost like IMAX with surround sound, except it's live!<span style="mso-spacerun: yes;"> </span></span></div>
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<tr><td style="text-align: center;"><a href="https://centralcityopera.org/wp-content/uploads/2014/03/OperaInterior.3x4-large.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="335" src="https://centralcityopera.org/wp-content/uploads/2014/03/OperaInterior.3x4-large.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Central City Opera House interior. Photo by Mark Kiryluk.</td></tr>
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<o:p></o:p><span style="background-color: white; font-family: 'Trebuchet MS', Verdana, Arial, sans-serif; line-height: 18.9149990081787px;"><span style="font-family: Calibri; font-style: italic; line-height: 18.9149990081787px; text-align: center;">Central City Opera's<span class="Apple-converted-space"> </span></span><a href="http://www.centralcityopera.org/festival" style="color: #940f04; font-family: Calibri; font-style: italic; line-height: 18.9149990081787px; text-align: center;" target="_blank">2015 Festival</a><span style="font-family: Calibri; line-height: 18.9149990081787px; text-align: center;"><a href="http://www.centralcityopera.org/festival" style="color: #940f04; font-style: italic;" target="_blank"><span class="Apple-converted-space"> </span></a><i>runs through August 9, with </i><a href="http://www.centralcityopera.org/traviata" target="_blank">La Traviata</a><i>'s last performance tonight (sold out). Check out the</i></span><a href="http://www.centralcityopera.org/insider" style="color: #940f04; font-family: Calibri; font-style: italic; line-height: 18.9149990081787px; text-align: center;" target="_blank">2015 Opera Insider (Festival Resource Guide) </a><span style="font-family: Calibri; font-style: italic; line-height: 18.9149990081787px; text-align: center;">for additional artist interviews, background on the original production and even musical versions of word search and Sudoku!</span></span></div>
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</span>Central City Operahttp://www.blogger.com/profile/12863429946904896103noreply@blogger.com0tag:blogger.com,1999:blog-3598316967039095354.post-51963245342049821102015-08-07T08:00:00.000-06:002015-08-07T08:00:00.659-06:00Spotlight On: Christopher Zemliauskas, Conductor<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Christopher Zemliauskas,<br />Conductor</td></tr>
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<i>Editor's Note: Today's blog comes from an article in our <a href="http://www.centralcityopera.org/insider" target="_blank">2015 Opera Insider (Festival Resource Guide)</a>. Emily Murdock (Associate Director,
Education & Community Engagement) interviewed Christopher Zemliauskas, conductor of our one-act operas </i><a href="http://www.centralcityopera.org/donquixote" target="_blank">Don Quixote and the Duchess</a><i> and </i><a href="http://www.centralcityopera.org/prodigalson" target="_blank">The Prodigal Son</a><i>. He was last in Central City in 2013 conducting the opera </i>Our Town.<br />
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<b><i>2015 will be your 10th summer with Central City Opera. Is there something special about CCO that keeps you coming back?</i></b><br />
<i><br /></i>One of the things that has brought me back to CCO over the years is the consistently high level of the productions and the artists that take part in them. The roster of singers, directors, and conductors that have worked at CCO over the years is impressive to say the least, and I appreciate the company's dedication in bringing those people together. It has offered me the opportunity to work with and learn from some of the great artists of our profession, which has been invaluable to me. The repertoire that I have been able to work on at CCO spans from Handel to Sondheim, and this richness and variety of material is very exciting (and rare among opera companies today). Though I don't live in Colorado anymore, working at CCO each summer is like coming home.<br />
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<a href="http://2.bp.blogspot.com/-gn9HYuJqN7I/VcPWlYpmngI/AAAAAAAABGw/4fcK_RMvdBI/s1600/Zemliauskas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://2.bp.blogspot.com/-gn9HYuJqN7I/VcPWlYpmngI/AAAAAAAABGw/4fcK_RMvdBI/s400/Zemliauskas.jpg" width="243" /></a></div>
<i><b>Do you have any favorite moments in these operas?</b></i><br />
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I love working on Britten operas in general, and specifically I am fascinated with his chamber operas and the church parables. Having conducted another of Britten's church parables, <i></i><i>Curlew River</i> (at CCO in 2008), I am familiar with the style of composition and orchestration. Both pieces have a predominantly male cast, sparse orchestra, different tempi happening at the same time, lack of bar lines/meter, and heavy use of tone-rows (an aspect of twelve tone composition). For me the real joy is taking these aspects and communicating the story through the music. In many ways it's like putting together a puzzle. Every note, rhythm, theme, and choice of instrumentation means something in these pieces, and it's a rare opportunity to be able to have the time and resources to help interpret these pieces for a wider audience.<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-jdXTSmdUT6M/VcPV8R3-mzI/AAAAAAAABGo/S5Pvy3t12A4/s1600/ProdigalSonReh.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="131" src="http://3.bp.blogspot.com/-jdXTSmdUT6M/VcPV8R3-mzI/AAAAAAAABGo/S5Pvy3t12A4/s400/ProdigalSonReh.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Christopher Zemliauskas conducts a rehearsal for <i>The Prodigal Son</i>. <br />Photo by Tyler Donovan.</td></tr>
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<i><b>What is your background as a musician? How did you become interested in conducting?</b></i><br /><br />
I started playing the piano at age 6, and had the opportunity to attend a performing arts high school where I studied both classical and jazz piano. It was there that my love for collaboration took root, as I had the chance to play in orchestral ensembles, for singers and instrumentalists, and even for dance concerts. I continued my studies at Ithaca College and the University of Minnesota in both solo piano and accompanying, and was a resident artist pianist at The Minnesota Opera after receiving my Master's degree. At MinOp I was able to play for and learn from dozens of conductors, and I began to assist on several productions. Conducting became for me a natural extension of the collaborative process, and was a way for me to add my voice and interpretation to, what is—in an ideal situation—a team of thoughtful and creative people.<br />
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<i><span style="-webkit-text-stroke-width: 0px; background-color: white; color: black; display: inline !important; float: none; font-family: Calibri; font-size: 12.6099996566772px; font-style: italic; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18.9149990081787px; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px;">Central City Opera's<span class="Apple-converted-space"> </span></span><a href="http://www.centralcityopera.org/festival" style="-webkit-text-stroke-width: 0px; background-color: white; color: #940f04; font-family: Calibri; font-size: 12.6099996566772px; font-style: italic; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18.9149990081787px; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px;" target="_blank">2015 Festival</a><span style="-webkit-text-stroke-width: 0px; background-color: white; color: black; display: inline !important; float: none; font-family: Calibri; font-size: 12.6099996566772px; font-style: italic; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18.9149990081787px; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px;"><a href="http://www.centralcityopera.org/festival" target="_blank"><span class="Apple-converted-space"> </span></a>runs through August 9, though both one-act operas have now completed their runs. Check out the</span><a href="http://www.centralcityopera.org/insider" style="-webkit-text-stroke-width: 0px; background-color: white; color: #940f04; font-family: Calibri; font-size: 12.6099996566772px; font-style: italic; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18.9149990081787px; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px;" target="_blank">2015 Opera Insider (Festival Resource Guide)<span class="Apple-converted-space"> </span></a><span style="-webkit-text-stroke-width: 0px; background-color: white; color: black; display: inline !important; float: none; font-family: Calibri; font-size: 12.6099996566772px; font-style: italic; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18.9149990081787px; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px;">for additional artist interviews, background on the original production and even musical versions of word search and Sudoku!</span> </i>Central City Operahttp://www.blogger.com/profile/12863429946904896103noreply@blogger.com0tag:blogger.com,1999:blog-3598316967039095354.post-82929344887872412002015-08-06T15:32:00.000-06:002015-08-06T15:37:07.237-06:00Spotlight on: Nicholas Ward, Baritone<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://centralcityopera.org/wp-content/uploads/2014/02/NicholasWard1-117x159.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://centralcityopera.org/wp-content/uploads/2014/02/NicholasWard1-117x159.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Nicholas Ward, Baritone</i></td></tr>
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<i>Editor's Note: Today's blog comes from an article in our <a href="http://www.centralcityopera.org/insider" target="_blank">2015 Opera Insider (Festival Resource Guide)</a>. Emily Murdock (Associate Director, Education & Community Engagement) interviewed Nicholas Ward, one of our <a href="https://centralcityopera.org/programs/artist-training/2015-apprentice-artists" target="_blank">Apprentice Artists</a>. He portrays Elder Son in our one-act opera </i>The Prodigal Son<i> this year as well as Marquis D'Obigny in </i>La Traviata<i>.</i><br />
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<i><b>You were a Central City Opera Bonfils-Stanton Apprentice Artist in 2014 and a Studio Artist in 2013. What does Central City Opera offer to emerging opera professionals that you’ve found helpful in your career?</b></i><br />
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I feel that <a href="http://www.centralcityopera.org/artiststraining" target="_blank">Central City’s program</a> has prepared me to take on any challenge that I face in the world of opera. Between an intense class schedule, top-notch coaching, and fabulous productions, the young artists at CCO are prepared for anything. I’ve had the opportunity to perform in a huge variety of productions, ranging from grand opera to chamber opera to musicals with distinguished principal performers. CCO really offers the full package of training for somebody at the beginning of an opera career. The knowledge I’ve gained from the coaches and directors is invaluable, and I’ve been able to take what I’ve learned and apply it to my work outside of the program. I think one of the most valuable things I’ve learned here is how to get up in front of people and perform without fear. Singing in front of your colleagues can be nerve-wracking. Once you do it a few times, you get used to it and find that there’s really not much to be worried about. Now, auditions feel like a breeze! I’m glad to have learned so much in such a supportive environment.<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-80g1CLH4ybA/VcPRN04X47I/AAAAAAAABGY/zbCr1p8z4SY/s1600/NickWardTahiti.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="260" src="http://1.bp.blogspot.com/-80g1CLH4ybA/VcPRN04X47I/AAAAAAAABGY/zbCr1p8z4SY/s400/NickWardTahiti.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Nicholas Ward was featured as part of the Trio in last year’s <i>Trouble in Tahiti.</i> Photo by Aaron Peterson.</td></tr>
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<b><i>You will be singing the role of the Elder Son in <a href="http://www.centralcityopera.org/prodigalson" target="_blank">The Prodigal Son</a>, one of our one-act operas that will be produced in Central City and Colorado Springs. What are you most looking forward to with this production?</i></b><br />
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</i>First of all, Britten’s music is spectacular, this piece in particular. I’m really looking forward to tackling the unique challenges it presents. This is very much an ensemble piece. The singers and instrumentalists have to rely on each other for entrances, cues, and meeting points. Britten even uses his own notation to indicate special types of cues and passages. I can’t wait to get to work on this music with my colleagues, and hopefully form relationships with the instrumentalists as well. I’m also very excited to be performing this work in church venues. I think this will be a fantastic opportunity for the community to experience something very different than what is presented at the opera house. Churches provide such an excellent space for intimate performances. We’ll get the chance to connect with our audience in a very special way.<br />
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<i><b>Can you relate to your character of the Elder Son in any way?</b></i><br />
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</i>Well, I am a real-life older brother! Lucky for me, I have a wonderful family. We get along, unlike the brothers in <i>The Prodigal Son</i>. Other than that, I don’t see a whole lot of this character in myself, but I understand why he feels the way he does in his situation. He is an easily-angered, jealous and self-righteous person. He works diligently for his father, but his intentions are selfish. When the subject of inheritance arises, he goes ballistic and essentially disowns his younger brother. He can’t show compassion and doesn’t understand why his brother is being treated with love and kindness despite his mistakes. I think there are many valuable lessons to be learned from the stories of both sons. Many of us have felt the sting of jealousy or entitlement. The question is; how do we deal with these feelings? The story of the Prodigal Son gives us some examples of what can go wrong, and that it’s important to appreciate what we have. I’m very much looking forward to delving into this character and bringing him to life for CCO audiences.<br />
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<span style="-webkit-text-stroke-width: 0px; background-color: white; color: black; display: inline !important; float: none; font-family: Calibri; font-size: 12.6099996566772px; font-style: italic; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18.9149990081787px; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px;">Central City Opera's<span class="Apple-converted-space"> </span></span><a href="http://www.centralcityopera.org/festival" style="-webkit-text-stroke-width: 0px; background-color: white; color: #940f04; font-family: Calibri; font-size: 12.6099996566772px; font-style: italic; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18.9149990081787px; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px;" target="_blank">2015 Festival</a><span style="-webkit-text-stroke-width: 0px; background-color: white; color: black; display: inline !important; float: none; font-family: Calibri; font-size: 12.6099996566772px; font-style: italic; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18.9149990081787px; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px;"><a href="http://www.centralcityopera.org/festival" target="_blank"><span class="Apple-converted-space"> </span></a>runs through August 9. Check out the</span><a href="http://www.centralcityopera.org/insider" style="-webkit-text-stroke-width: 0px; background-color: white; color: #940f04; font-family: Calibri; font-size: 12.6099996566772px; font-style: italic; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18.9149990081787px; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px;" target="_blank">2015 Opera Insider (Festival Resource Guide)<span class="Apple-converted-space"> </span></a><span style="-webkit-text-stroke-width: 0px; background-color: white; color: black; display: inline !important; float: none; font-family: Calibri; font-size: 12.6099996566772px; font-style: italic; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18.9149990081787px; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px;">for additional artist interviews, background on the original production and even musical versions of word search and Sudoku!</span>Central City Operahttp://www.blogger.com/profile/12863429946904896103noreply@blogger.com0tag:blogger.com,1999:blog-3598316967039095354.post-6859001319194223952015-07-22T10:00:00.000-06:002015-07-22T16:54:34.353-06:00Where in the World is La Mancha?<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-b1IHJXGg5ls/Va7bqUrY-qI/AAAAAAAAVgA/v9CZtcq11zI/s1600/2000px-Localizaci%25C3%25B3n_de_Castilla-La_Mancha.svg-wikipedia.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="http://4.bp.blogspot.com/-b1IHJXGg5ls/Va7bqUrY-qI/AAAAAAAAVgA/v9CZtcq11zI/s320/2000px-Localizaci%25C3%25B3n_de_Castilla-La_Mancha.svg-wikipedia.png" width="320" /></a></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">“La Mancha,” translates as “The Channel” and refers to a wide bleak plain in Spain (pictured above in red). It can also be translated as “The Stain” - not great for a knight’s home base. The climate, according to Dale Wasserman (</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;"><a href="http://www.centralcityopera.org/lamancha" target="_blank">Man of La Mancha</a></span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">), is “Nine months of winter and three months of hell...It’s easy to invent fantasies in La Mancha, to believe that men might go mad and invent worlds not yet made.”<o:p></o:p></span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">The red route traced below was published in the 1780 illustrated Spanish edition of </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">Don Quixote</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">, following the title character’s adventures, including:<o:p></o:p></span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">Compiled by Erin Joy Swank (Education & Community Engagement) for our <a href="http://www.centralcityopera.org/insider" target="_blank">2015 Opera Insider (Festival Resource Guide).</a> Download your free copy today!</span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">Central City Opera's <i><a href="http://www.centralcityopera.org/lamancha" target="_blank">Man of La Mancha</a> </i>runs through August 9, 2015; <i><a href="http://www.centralcityopera.org/donquixote" target="_blank">Don Quixote and the Duchess</a></i> performs July 28 and August 1 in Central City, August 6 in Ft. Collins.</span></div>
Erinhttp://www.blogger.com/profile/00882378985695047262noreply@blogger.com0tag:blogger.com,1999:blog-3598316967039095354.post-62624152109615108822015-07-21T17:37:00.000-06:002015-07-21T17:37:20.637-06:00Musical Word Search with Central City Opera<div class="separator" style="clear: both; text-align: left;">
Have you taken a look at our <a href="http://www.centralcityopera.org/insider" target="_blank">Opera Insider (Festival Resource Guide)?</a> In addition to background on the <a href="http://www.centralcityopera.org/insider" target="_blank">2015 Festival productions</a> and interviews with the artists, there are quite a few activities, including the Word Search below and a musical version of Sudoku. Download your free copy today!</div>
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<a href="http://4.bp.blogspot.com/-XZnBjGWcDpk/Va7V4fGjkgI/AAAAAAAAVfw/lSQsnj_J_O0/s1600/WordSearch.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="367" src="http://4.bp.blogspot.com/-XZnBjGWcDpk/Va7V4fGjkgI/AAAAAAAAVfw/lSQsnj_J_O0/s400/WordSearch.png" width="400" /></a></div>
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<i>Produced by Central City Opera's <a href="http://www.centralcityopera.org/education" target="_blank">Education & Community Engagement</a> staff</i></div>
Erinhttp://www.blogger.com/profile/00882378985695047262noreply@blogger.com0tag:blogger.com,1999:blog-3598316967039095354.post-28706048526609098762015-07-21T11:38:00.003-06:002015-07-21T17:28:54.956-06:00Spotlight On: Mezzo-Soprano Lucy Schaufer (Aldonza, MAN OF LA MANCHA)<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-oP3zobgTwKs/Va5-K-dnmQI/AAAAAAAAVfg/2sdyFeTrtp0/s1600/LucySchaufer.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" src="http://4.bp.blogspot.com/-oP3zobgTwKs/Va5-K-dnmQI/AAAAAAAAVfg/2sdyFeTrtp0/s1600/LucySchaufer.jpg" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: black;"><a href="http://lucyschaufer.com/" target="_blank">Lucy Schaufer</a>, Mezzo-Soprano<br />Aldonza, <a href="http://www.centralcityopera.org/lamancha" target="_blank">MAN OF LA MANCHA</a></span></td></tr>
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<i>Today's blog comes from an article in our <a href="http://www.centralcityopera.org/insider" target="_blank">2015 Opera Insider (Festival Resource Guide)</a>, where Ms. Schaufer was interviewed by Erin Joy Swank of Central City Opera's <a href="http://www.centralcityopera.org/education" target="_blank">Education & Community Engagement</a> staff.</i><br />
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<span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">Our audiences are familiar with you in musical theatre roles, portraying Elsa in last year’s </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">The Sound of Music </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">and Aldonza in </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">Man of La Mancha </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">this year. However, your repertoire includes many famous characters of the opera world, including Suzuki (</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">Madama Butterfly</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">) and Marcellina (</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">The Marriage of Figaro</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">). Do you approach the roles or music any differently?<o:p></o:p></span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">My meat and potatoes work is mainly contemporary music with smatterings of standard repertoire and of course "musical theatre" - yet as far as I'm concerned, it's </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">all</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;"> music theatre. We are story tellers.<o:p></o:p></span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">My preparation remains fairly consistent. I mean, your physical and mental muscles need time to own the notes and the story and depending on the demands of the role, you've just got to give yourself time to ponder, work like a demon and let it stew. <o:p></o:p></span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">It all comes down to these questions: are you the type of artist willing to be flexible enough, to risk a lot and bend to what a composer and librettist are asking? Or are you someone happier bringing exactly who you are, vocally and dramatically, to a role? Or is there indeed a balance?<o:p></o:p></span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">This is an incredibly esoteric answer! But I believe it's worth asking these questions when the range of repertoire is continually expanding with every new composition written and programming decision made. <o:p></o:p></span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">So, in a nutshell, yes! - I approach each role with the same dogged energy of honouring the </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none; text-decoration: underline; text-underline: single;">style</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;"> and </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none; text-decoration: underline; text-underline: single;">intention</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;"> of the composer and librettist, and demand that I honestly ask myself whether or not I can produce the sounds and storytelling required of the role.<o:p></o:p></span><br />
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<tr><td style="text-align: center;"><a href="https://centralcityopera.org/wp-content/uploads/2015/07/CCOLaManchaTrio2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://centralcityopera.org/wp-content/uploads/2015/07/CCOLaManchaTrio2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #222222; font-family: 'Open Sans', HelveticaNeue, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: xx-small; font-style: italic; line-height: 21.4500007629395px;">Central City Opera’s MAN OF LA MANCHA (2015). Pictured L to R: Lucy Schaufer (Aldonza), Robert Orth (Don Quixote/Cervantes), Keith Jameson (Sancho Panza). Photo by Kira Horvath.</span></td></tr>
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Your work has spanned many continents, including stints in Paris, Milan, Hamburg, Portugal and New Zealand. Can you discuss any differences in the way opera is rehearsed and produced in other countries or if the audience reaction or expectation is any different than here in America?</div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">Opera rehearsals are like a mirror to the culture and country in which you're working. Some stereotypes definitely ring true! Italy can be pure chaos, England has lovely tea breaks, and Germany is well organised. Some countries do not have unions - like the UK. It's no longer a closed shop, thanks to Margaret Thatcher. So it's the protections given to the musicians or chorus in the room which denote how the soloists are treated. Odd, right? <o:p></o:p></span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">People react in all sorts of ways to theatre the world over - but the one common reaction these days which is pervasive is the booing of "bad" characters, like Pinkerton or Claggart. It's a pantomime reaction or TV behaviour, and frankly, I do not care much for it. Give the actor the credit for his or her performance after hours of sweating for you. A teasing "boo" followed by a hearty cheer is one option which is palatable. Yet I'm still perplexed by this audience reaction nonetheless.</span></div>
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<span lang="en-US" style="font-family: Calibri;">Pictured: Central City Opera’s </span><span lang="en-US" style="font-family: Calibri; font-style: italic;">The Sound of Music </span><span lang="en-US" style="font-family: Calibri;">(2014). Clockwise from Top Left: Lucy Schaufer (Elsa Schraeder), Robert Orth (Max Detweiler), Troy Cook (Captain Georg von Trapp). Photo by Mark Kiryluk. <o:p></o:p></span></div>
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<span lang="en-US" style="font-family: Calibri;">Schaufer and Orth will star in this summer’s </span><span lang="en-US" style="font-family: Calibri; font-style: italic;">Man of La Mancha</span><span lang="en-US" style="font-family: Calibri;">, while Cook performs in </span><span lang="en-US" style="font-family: Calibri; font-style: italic;">La Traviata; </span><span lang="en-US" style="font-family: Calibri;">see his interview on </span><span lang="en-US">page 14 of our <a href="http://www.centralcityopera.org/insider" target="_blank">Opera Insider</a></span><span lang="en-US" style="font-family: Calibri;">.</span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; line-height: 119%; mso-ansi-language: en-US; mso-ligatures: none;">Well, I left a box of sheets/towels last summer and I just sent a package with my steamer and other altitude friendly remedies - so I'm prepared on that front. I'll bring loads of tea from home because it's my life blood. I'm obsessive about TEA. And finally I'm so looking forward to being naughty and outrageous with unstoppable Bob Orth, working again with the wonderful Paul Curran after far too many years, and doing a few late night cabaret numbers in the bar with incomparable Tom Getty*! See you soon. <o:p></o:p></span></div>
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<span lang="en-US" style="font-family: Calibri; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">*Tom Getty is featured in a spotlight interview on page 38 of our <a href="http://www.centralcityopera.org/insider" target="_blank">Opera Insider</a>.</span><span lang="en-US" style="font-family: Calibri; font-style: italic; language: en-US; mso-ligatures: none;"><o:p></o:p></span></div>
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<span lang="en-US" style="font-family: Calibri; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;">Central City Opera's <a href="http://www.centralcityopera.org/insider" target="_blank">Man of La Mancha</a> runs through August 9. Check out the <a href="http://www.centralcityopera.org/insider" target="_blank">2015 Opera Insider (Festival Resource Guide) </a>for additional artist interviews, background on the original production and even musical versions of word search and Sudoku!</span></div>
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Erinhttp://www.blogger.com/profile/00882378985695047262noreply@blogger.com0tag:blogger.com,1999:blog-3598316967039095354.post-48493269878082026292015-07-11T07:00:00.000-06:002015-07-11T07:00:00.703-06:00What to Listen for in LA TRAVIATA - Act III<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">John Baril<br />
Conductor, <i>La Traviata</i></td></tr>
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<em>Today we conclude our three-part blog series on "What to Listen for in <a href="http://www.centralcityopera.org/traviata" target="_blank">La Traviata</a>" with Conductor <a href="http://johnbaril.com/" target="_blank">John Baril</a>. If you're just joining us, please read the previous posts on </em><a href="http://centralcityoperafestival.blogspot.com/2015/07/what-to-listen-for-in-la-traviata-act-i.html"><em>Act I</em></a><em> and <a href="http://centralcityoperafestival.blogspot.com/2015/07/what-to-listen-for-in-la-traviata-act-ii.html">Act II</a>.</em><br />
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<span lang="en-US" style="font-family: "Gotham XNarrow Bold"; font-size: 16.0pt; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: "Gotham XNarrow Bold"; mso-ascii-font-family: "Gotham XNarrow Bold"; mso-currency-font-family: "Gotham XNarrow Bold"; mso-default-font-family: "Gotham XNarrow Bold"; mso-greek-font-family: "Gotham XNarrow Bold"; mso-hebrew-font-family: "Gotham XNarrow Bold"; mso-latin-font-family: "Gotham XNarrow Bold"; mso-latinext-font-family: "Gotham XNarrow Bold"; mso-ligatures: none;">ACT III</span><span lang="en-US" style="font-family: "Gotham XNarrow Bold"; font-size: 16.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: "Gotham XNarrow Bold"; mso-ascii-font-family: "Gotham XNarrow Bold"; mso-currency-font-family: "Gotham XNarrow Bold"; mso-default-font-family: "Gotham XNarrow Bold"; mso-greek-font-family: "Gotham XNarrow Bold"; mso-hebrew-font-family: "Gotham XNarrow Bold"; mso-latin-font-family: "Gotham XNarrow Bold"; mso-latinext-font-family: "Gotham XNarrow Bold"; mso-ligatures: none;"><o:p></o:p></span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">The last Act starts with another prelude featuring pronounced sobbing or weeping in the strings. Very sparse recitative ensues with much information for the audience. Violetta reads a letter (literally speaking out loud, a very rare occurrence in opera) to comfort herself over underscoring which features, you guessed it, Alfredo’s “Di quell’amor” in the solo violin. She sings her farewell aria </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">(“Addio del passato”</span><span lang="en-US" style="font-family: Calibri; font-size: 12.0pt; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">)</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">, realizing she will die alone. <o:p></o:p></span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">An offstage chorus is heard singing a cappella (unaccompanied) party music</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-eudc-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">—</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">it is Baccanale or Mardi Gras time in Paris. Note: anytime you hear offstage music in a stage work, there is always a faithful assistant conductor with a monitor and music stand making sure it all happens smoothly and efficiently. Alfredo arrives and, to </span><span lang="en-US" style="font-family: Calibri; font-size: 11pt;">another famous three-quarter time “oom-chick-chick” accompaniment, they sing about leaving Paris as soon as Violetta’s health returns </span><span lang="en-US" style="font-family: Calibri; font-size: 11pt; font-weight: bold;">(“Parigi o cara”).</span></div>
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<tr><td class="tr-caption" style="text-align: center;">LISTEN: <a href="https://www.youtube.com/watch?v=oKlnoaoCfyo"><span lang="it" style="font-family: Calibri; font-size: 11pt;">Parigi o cara</span></a><span lang="it" style="font-family: Calibri; font-size: 11pt;"> </span><span lang="en-US" style="font-family: Calibri; font-size: 11pt;"> </span><span lang="it" style="font-family: Calibri; font-size: 11pt;">– Luciano Pavarotti and Mirella Freni</span></td></tr>
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<span style="font-family: Calibri; font-size: 11pt;">When the voices combine, listen for how differently each is written; that is, Alfredo’s melody is very lyrical and sustained whereas Violetta’s interjections are laboriously separated by (her ever-diminishing) breathing. Violetta tries to get dressed so they can go to church – all with powerful, distressing, insistent music – but to no purpose. The end of this duet (“Gran Dio, morir si giovine”) is supported by pizzicati in the orchestra—which sounds very striking and unusual. </span><br />
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<span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">Germont arrives full of remorse to what reminds me of circus-music. The final ensemble, despite its intimacy, features full orchestra, including trombones and tuba, playing along in a kind of death march (except it’s in three - oh, well). Anyone familiar with sister opera </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">Il trovatore</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;"> will recognize this as a musical kindred spirit to the famous “Miserere” scene from that piece. Again, listen for how the characters express themselves within the confines of this march—very individual rhythmic outbursts layered one on top of the other. In the final moments, Violetta experiences a burst of energy bolstered by the first violin’s very soft reiteration of “Di quell’amor” supported by tremolo (literally “trembling”) string section. The very final bars of music feature the orchestra punctuating the fortissimo timpani roll with their sad, powerful Db minor chords.<o:p></o:p></span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">LISTEN: </span><a href="https://www.youtube.com/watch?v=sfFzYLqou9M"><span lang="en-US" style="font-family: Calibri; font-size: 11pt;">Act III Finale</span></a><span lang="en-US" style="font-family: Calibri; font-size: 11pt;"> – Beverly Sills, Nicolai Gedda, Rolando Panerai</span></div>
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<span style="background-color: white; font-family: 'Trebuchet MS', Verdana, Arial, sans-serif; font-size: 12.6099996566772px; font-style: italic; line-height: 18.9149990081787px;">View our </span><span style="background-color: white; font-family: 'Trebuchet MS', Verdana, Arial, sans-serif; font-size: 12.6099996566772px; font-style: italic; line-height: 18.9149990081787px;"><a href="http://www.centralcityopera.org/insider" style="color: #940f04;" target="_blank">Opera Insider</a> </span><span style="background-color: white; font-family: 'Trebuchet MS', Verdana, Arial, sans-serif; font-size: 12.6099996566772px; line-height: 18.9149990081787px;"><i>today for the full article and more insider information on the entire 2015 Festival. </i><a href="http://www.centralcityopera.org/traviata" target="_blank">La Traviata</a><i> opens tonight and runs through August 8, 2015. If you can't make our opening night performance, <a href="http://www.centralcityopera.org/broadcast" target="_blank">listen to our live broadcast</a> on Colorado Public Radio, over the air or online, 8:00 pm Mountain.</i></span>Central City Operahttp://www.blogger.com/profile/12863429946904896103noreply@blogger.com0tag:blogger.com,1999:blog-3598316967039095354.post-11842927429020563242015-07-10T10:16:00.000-06:002015-07-10T10:16:34.505-06:00What to Listen for in LA TRAVIATA - Act II<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://centralcityopera.org/wp-content/uploads/2014/02/JohnBaril.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://centralcityopera.org/wp-content/uploads/2014/02/JohnBaril.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://johnbaril.com/" target="_blank">John Baril</a><br />
Conductor, <i>La Traviata</i></td></tr>
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<em>Today we continue with the second part of our <a href="http://www.centralcityopera.org/traviata" target="_blank">Opera Insider</a> article on "What to Listen for in <a href="http://www.centralcityopera.org/traviata" target="_blank">La Traviata</a>", courtesy of conductor John Baril. If you're just joining us, </em><a href="http://centralcityoperafestival.blogspot.com/2015/07/what-to-listen-for-in-la-traviata-act-i.html"><em>read our blog post regarding Act I</em></a><em>.</em><br />
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<span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">Alfredo’s aria in Act II is usually performed with the strings playing the offbeats (“oom-CHA-CHA-CHA”) on the strings with their bows. However, there is evidence (and at least one famous recording) to suggest that the strings should play this pizzicato (plucked) instead, resulting in a more intimate, nuanced sound. As of this writing, I haven’t decided which to do and will wait to see which accompaniment is most suited to the staging. Lots of “action” happens in a short amount of time during the first scene of this act. Letters filled with good and bad news are written and delivered, and unknown people arrive and are introduced. Much of opera written in the romantic period has to do with expressing how someone feels about information they’ve just gleaned. Therefore, much of that information is delivered in fast recitative (speaking) style, often by underlings and messengers, and then the major characters’ feelings are expressed in slower, more sustained music (arias and duets and such). In this scene, we also hear Violetta’s passionate outburst </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">“Amami, Alfredo,” </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">hinted at in the prelude; listen for the amazing orchestral crescendo which precedes it.</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-ligatures: none;"><o:p></o:p></span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11pt;">Another fun game involving Verdi operas: how many “father/daughter” duets can you name, and from which works? The combination of baritone and soprano under these circumstances coerced from Verdi some of the most sublime music ever composed for the lyric stage. </span><span lang="en-US" style="font-family: Calibri; font-size: 11pt; font-style: italic;">Traviata</span><span lang="en-US" style="font-family: Calibri; font-size: 11pt;"> and </span><span lang="en-US" style="font-family: Calibri; font-size: 11pt; font-style: italic;">Rigoletto</span><span lang="en-US" style="font-family: Calibri; font-size: 11pt;"> are perhaps the most recognized, but I encourage you to check out </span><span lang="en-US" style="font-family: Calibri; font-size: 11pt; font-style: italic;">Simon Boccanegra</span><span lang="en-US" style="font-family: Calibri; font-size: 11pt;"> and </span><span lang="en-US" style="font-family: Calibri; font-size: 11pt; font-style: italic;">Luisa Miller</span><span lang="en-US" style="font-family: Calibri; font-size: 11pt;">. </span></div>
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<span lang="it" style="font-family: Calibri; font-size: 11pt;">LISTEN: <a href="https://www.youtube.com/watch?v=Wx3eSoeuoDI">Pura siccome un angelo</a></span><span lang="it" style="font-family: Calibri; font-size: 11.0pt; language: it; mso-ansi-language: it; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;"> (baritone/soprano duet; score excerpted above) – Leonard Warren and Eleanor Steber<o:p></o:p></span></div>
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<span style="font-family: Calibri; font-size: 11pt;">The “rules” of opera at the time dictated that Germont (Alfredo’s father) had to have a double-aria too, even though the action stops in order to do so, especially with regard to Alfredo’s anger, so his reactions are allowed for between the cracks of the arias. The second of these arias was often cut to avoid halting the action, but we are keeping one verse of it for two reasons: musical balance and the fact that I wanted to hear Troy [Cook] sing it!</span></div>
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<span style="font-family: Calibri; font-size: 11pt;">LISTEN: </span><a href="https://www.youtube.com/watch?v=HWMNuP5QfwM"><span lang="it" style="font-family: Calibri; font-size: 11pt;">Di Provenza il mar</span></a><span lang="it" style="font-family: Calibri; font-size: 11pt;"> (1st section of Germont’s double-aria) – Sherrill Milnes</span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">About the drama: </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">La traviata</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;"> is often considered the first </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">verismo</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;"> opera (realistic, or, about real people as opposed to royalty or mythical characters). Strict censorship by authorities who controlled such things prevented </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">Traviata</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;"> from being performed in modern costume, which was Verdi’s preference. That was considered too risqué and avant garde. However, it resulted in the first chink in the armor: though Verdi would fight with censors throughout his life, this fight resulted in the </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">verismo</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;"> opera movement, which includes works such as </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">Cavalleria rusticana, I pagliacci, </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">and much of Puccini’s output. Audiences identified much more sympathetically with this type of naturalistic theatre.<o:p></o:p></span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">Violetta tries to get Alfredo to leave, mostly for his safety (an impending duel, of course), but his pride takes a hit, all underscored by the intense music. Everyone returns to the stage for an extraordinary ensemble that ends the act. Listen for the different reactions of characters and then Violetta’s gorgeously sad melody in the midst of it all.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span lang="en-US" style="font-family: Calibri; font-size: 11pt;">LISTEN: <a href="https://www.youtube.com/watch?v=rxHzqbYQHkg">Act II finale</a></span><span lang="en-US" style="font-family: Calibri; font-size: 11pt;"> – Teresa Stratas, Fritz Wunderlich, Hermann Prey (“Alfredo, Alfredo, di questo core...” is heard at 6:23 and visually excerpted above.)<br /><br /><span style="background-color: white; font-family: 'Trebuchet MS', Verdana, Arial, sans-serif; font-size: 12.6099996566772px; line-height: 18.9149990081787px; text-align: left;">Stay tuned for our final installment of what to listen for in Act III of </span><i style="background-color: white; font-family: 'Trebuchet MS', Verdana, Arial, sans-serif; font-size: 12.6099996566772px; line-height: 18.9149990081787px; text-align: left;">La Traviata</i><span style="background-color: white; font-family: 'Trebuchet MS', Verdana, Arial, sans-serif; font-size: 12.6099996566772px; line-height: 18.9149990081787px; text-align: left;"> - or download our </span><i style="background-color: white; font-family: 'Trebuchet MS', Verdana, Arial, sans-serif; font-size: 12.6099996566772px; line-height: 18.9149990081787px; text-align: left;"><a href="http://www.centralcityopera.org/insider" style="color: #940f04;" target="_blank">Opera Insider</a> </i><span style="background-color: white; font-family: 'Trebuchet MS', Verdana, Arial, sans-serif; font-size: 12.6099996566772px; line-height: 18.9149990081787px; text-align: left;">today for the full article and more insider information on the entire 2015 Festival.</span></span></td></tr>
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Central City Operahttp://www.blogger.com/profile/12863429946904896103noreply@blogger.com0tag:blogger.com,1999:blog-3598316967039095354.post-50899908301422645312015-07-09T17:22:00.000-06:002015-07-09T17:56:03.549-06:00What to Listen for in LA TRAVIATA - Act I<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;"><a href="http://johnbaril.com/" target="_blank">John Baril</a><br />
Conductor, <i>La Traviata</i></td></tr>
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<i><span lang="en-US" style="font-family: Calibri; font-size: 11pt; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">For our <a href="http://www.centralcityopera.org/insider" target="_blank">2015 Opera Insider</a> (Festival Resource Guide), we asked John Baril, Central City Opera’s Music Director and Conductor for </span><span lang="en-US" style="font-family: Calibri; font-size: 11pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;"><a href="http://www.centralcityopera.org/traviata" target="_blank">La Traviata</a></span><span lang="en-US" style="font-family: Calibri; font-size: 11pt; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">, to write about some of the musical themes and devices Giuseppe Verdi employed in this opera and what to listen for.<span style="mso-spacerun: yes;"> </span>Here are his thoughts:</span></i><br />
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<span lang="en-US" style="font-family: 'Gotham XNarrow Bold'; font-size: 16pt; font-weight: bold;">ACT I<o:p></o:p></span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">La traviata</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;"> begins with an orchestral prelude that conveys Violetta’s story, but in reverse chronological order. Sixteen solo violins play in 4-part harmony the music that is heard at the outset of Act III and which is associated with her death. Next, accompanied by “oom-pah-pah,” very typical of the period, is her tune “Amami, Alfredo,” which we’ll hear in the middle of Act II, scene 1, just before she leaves him. Lastly, this tune is repeated without the “oom-pah-pah,” now replaced with very delicate ornamentation, especially in the first violins, that is depictive of Act I. The tune is played in a lower, more somber octave by clarinet, bassoon, and ‘celli. <o:p></o:p></span><i>[The violoncello (plural violoncelli) instrument is more commonly known in its abbreviated form: cello.]</i></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">Il trovatore</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;"> (“the troubadour”) premiered less than two months before </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">La traviata</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">; not surprisingly, there are unmistakable musical resemblances between the two; the orchestration of the gypsies and matadors in Act II, scene 2 springs instantly to mind. Yet the two couldn’t be more different—a testament to Verdi’s skill. </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">Trovatore</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;"> seems to stand out for its boldness and public displays; the characters are bigger than life and even the intimate moments are set in cold, dreadful locales. </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">Traviata</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">, on the other hand, even in the opening scene and at Flora’s party, seems desperately intimate. The party music which opens the opera, ravishingly urbane, suddenly becomes chamber music, with only 4 violins, 2 violas, one ‘cello and bass accompanying the private conversations. Another tutti outburst followed by the “chamber music,” but in a different key, is followed by the most famous music, the </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">Brindisi</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">, </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">or drinking song, in which a solo character makes a toast (Here, it’s Alfredo) and then the company joins in. The </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">Brindisi</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;"> is common in Italian opera (there are examples in Verdi’s </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">Otello</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;"> and </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">Macbeth, </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">and Gilbert and Sullivan poked fun at it), but, curiously, the word comes from “(Ich) bring dir’s,” a very German phrase once used by knights to “offer you” a drink followed, presumably, by a toast.</span></div>
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<a href="https://www.youtube.com/watch?v=hvMM2CJZ5VY"><span lang="en-US" style="font-family: Calibri; font-size: 11pt;">LISTEN</span></a><a href="https://www.youtube.com/watch?v=hvMM2CJZ5VY"><span lang="en-US" style="color: black; font-family: Calibri; font-size: 11pt; text-decoration: none;">:</span></a><span lang="en-US" style="font-family: Calibri; font-size: 11pt;"> The</span><span lang="en-US" style="font-family: Calibri; font-size: 11pt; font-style: italic;"> Brindisi</span><span lang="en-US" style="font-family: Calibri; font-size: 11pt;"> as performed by Maria Callas and Giuseppe Di Stefano.<o:p></o:p></span></div>
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<span lang="fr" style="font-family: Calibri; font-size: 11pt;">You can </span><a href="http://www.murashev.com/opera/La_traviata_libretto_English_Italian"><span lang="fr" style="font-family: Calibri; font-size: 11pt;">view an English translation of </span><span lang="fr" style="font-family: Calibri; font-size: 11pt; font-style: italic;">La Traviata</span></a><span lang="fr" style="font-family: Calibri; font-size: 11pt;"> to follow along with the excerpts. At the opera, we’ll have English supertitles above the stage.</span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11pt;">Banda music (literally wind-instruments playing music from somewhere else) announce a dance. Alfredo, concerned about Violetta’s health, stays behind to confront her, then to confess his love in </span><span lang="en-US" style="font-family: Calibri; font-size: 11pt; font-weight: bold;">“Un di felice.” </span><span lang="en-US" style="font-family: Calibri; font-size: 11pt;">This is one of many of Verdi’s three-quarter time (sometimes 6/8 time), slow “oom-plick-plick” pieces. It’s a fun game to see how many of these can be cited and from which operas; there are many, to be sure, but no opera has more than </span><span lang="en-US" style="font-family: Calibri; font-size: 11pt; font-style: italic;">La traviata</span><span lang="en-US" style="font-family: Calibri; font-size: 11pt;">. </span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11pt;">This particular “oom-plick-plick” piece is made more special by the tune Alfredo sings, </span><span lang="en-US" style="font-family: Calibri; font-size: 11pt; font-weight: bold;">“Di quell’amor.” </span></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">The tune is emblematic of his love for Violetta and is repeated at several important moments in the opera, sometimes sung (Violetta sings it later in this act, recalling) and sometimes as underscoring in the orchestra. Violetta’s rejoinder in this duet, despite the “oom-plick-plick” underneath, couldn’t be more different: there is daring </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">fioratura</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;"> (ornamented or “flowered” music) to suggest he flee from her and that only friendship is possible.<o:p></o:p></span></div>
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<span lang="en-US"> <span style="font-family: Calibri; font-size: 14.6666669845581px;">LISTEN:</span> </span><a href="https://www.youtube.com/watch?v=vl5stoK9nEw" style="text-align: center;"><span lang="en-US" style="font-family: Calibri; font-size: 11pt;">Un di felice</span></a><span lang="en-US" style="font-family: Calibri; font-size: 11pt; text-align: center;">—Joan Sutherland and Luciano Pavarotti (“Di quell’amor” is heard at 0:49; the fioratura begins at 1:34.)</span></div>
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<a href="http://1.bp.blogspot.com/-QNX6YBdfLQs/VZ7_-0x_O8I/AAAAAAAAVbk/_oKIQS1vrNc/s1600/fiora%2Btura%2Bun%2Bdi%2Bfelice.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="76" src="http://1.bp.blogspot.com/-QNX6YBdfLQs/VZ7_-0x_O8I/AAAAAAAAVbk/_oKIQS1vrNc/s400/fiora%2Btura%2Bun%2Bdi%2Bfelice.jpg" width="400" /></a></div>
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<span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">In the </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-style: italic; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">stretta</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;"> (refers to the closing of a scene, where music tightens up and usually gets faster) of Act I, the ensemble chatters about dawn ensuing and other parties to attend. (This music is very difficult for a chorus to enunciate this fast without rushing ahead of the orchestra! Left alone, Violetta now sings perhaps the most famous (and fearsome) of all soprano scenes in the repertoire. Called a “double-aria”, the first half of which is slow </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">(“Ah, fors’e lui”)</span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;"> and the second half of which is fiendishly and recklessly difficult </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; font-weight: bold; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">(“Sempre libera”), </span><span lang="en-US" style="font-family: Calibri; font-size: 11.0pt; language: en-US; mso-ansi-language: en-US; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;">it requires every available tool in a soprano’s toolbox. The slow aria has a reiteration of Alfredo’s earlier line “Di quell’amor;” that emblem, sung in exactly the same manner, even in the same key, and at the end, a cadenza, very delicate and moving at the same time. Then, instantaneously, her mind suddenly changed, she launches into “always free;” music that is desperate, irresponsible and, at the same time, determined; music that characterizes the other side of Violetta.<o:p></o:p></span></div>
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<span lang="it" style="font-family: Calibri; font-size: 11pt;">LISTEN: <a href="https://www.youtube.com/watch?v=zokzbJ_ZXvY">Ah, fors’e lui/Sempre libera</a></span><span lang="it" style="font-family: Calibri; font-size: 11.0pt; language: it; mso-ansi-language: it; mso-armenian-font-family: Calibri; mso-hebrew-font-family: Calibri; mso-ligatures: none;"> – Renata Tebaldi (The latter begins at 5:00.)</span></div>
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Stay tuned for future blog posts of what to listen for in the other acts of <i>La Traviata</i> - or download our <i><a href="http://www.centralcityopera.org/insider" target="_blank">Opera Insider</a> </i>today for the full article and more insider information on the entire 2015 Festival.</div>
Central City Operahttp://www.blogger.com/profile/12863429946904896103noreply@blogger.com0tag:blogger.com,1999:blog-3598316967039095354.post-22631828479872936752015-07-06T15:56:00.002-06:002015-07-06T15:56:27.832-06:00Props for the 2015 Festival<div class="separator" style="clear: both; text-align: center;">
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-J5tmojgeYjM/VZbAfHLOYMI/AAAAAAAAAI0/UuAWhwZhKis/s1600/Ellie%2BCarving.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://3.bp.blogspot.com/-J5tmojgeYjM/VZbAfHLOYMI/AAAAAAAAAI0/UuAWhwZhKis/s320/Ellie%2BCarving.jpg" width="179" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Props Master Ellie Engstrom<br />
carves the back of a Chaise.</td></tr>
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The Central City Opera Properties Department has just
finished refurbishing a chaise lounge that will be used in the upcoming production of <i><a href="http://centralcityopera.org/traviata">La Traviata</a></i> (opening July 11). "It was super fun and definitely one of the most interesting things to do for the show,” said <a href="http://www.ellieengstrom.com/">Ellie Engstrom</a>, Props Master. In addition to applying a new stain to the wood, the old lounge chair needed to be stripped of its paint, sanded, reupholstered, retrimmed, and given a </div>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-NrQJCPJ9GXI/VZbAY3zCTDI/AAAAAAAAAIs/_jvjIBpvCsk/s1600/Tori.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://3.bp.blogspot.com/-NrQJCPJ9GXI/VZbAY3zCTDI/AAAAAAAAAIs/_jvjIBpvCsk/s320/Tori.jpg" width="177" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Assistant Props Master <a href="http://victoriakschilling.weebly.com/">Tori Schilling</a>,<br />
details part of the chaise lounge.</td></tr>
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new back, which Engstrom personally created and carved. This
piece is one of many items that has to be created for this Festival’s lineup, which has proven to be diverse for Engstrom: “It’s a nice
balance of traditional and modern opera between <i>La Traviata </i>and <i><a href="http://centralcityopera.org/donquixote">Don Quixote</a>."</i> Refurbishing furniture is a common practice in theatre in an attempt to tie existing furniture to current productions. Many skills that are learned by props artisans are as useful outside of the world of production as they are within it. <a href="http://www.wikihow.com/Reupholster-Furniture">Home reupholstery</a> can be an easy way to revamp old or outdated furniture that is still usable. Moreover, painting techniques which are used in props design can be combined with this process to give the piece of furniture an artistic flair. In preparation for the opening of <i>La Traviata </i>next Saturday, the properties department is currently busy with transporting their props for the show from rehearsal spaces to the Opera House. Including the necessary furniture pieces in <i>La Traviata</i>, Engstrom and crew have created banquet tables of
realistic cakes, cookies, scones, and other dessert items. <a href="http://centralcityopera.org/tickets">Grab some tickets</a> to CCO this Festival<i> </i>and check out what Ellie and other designers have created!</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8000001907349px;">CCO Properties Department and the completed Chaise</span><br />
<span style="font-size: xx-small;">(Behind, L to R: Chelsea Keuhnel, Hayley Parker; on chaise, L to R: Ellie Engstrom, Tori Schilling)</span></td></tr>
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<o:p></o:p>Anonymoushttp://www.blogger.com/profile/17163963273981422746noreply@blogger.com0Central City, CO, USA39.8019322 -105.5141638999999739.7043137 -105.67552539999997 39.899550700000006 -105.35280239999997tag:blogger.com,1999:blog-3598316967039095354.post-43205154623539557452015-06-18T13:17:00.000-06:002015-06-18T13:17:48.026-06:00"Death by Aria" and the Artists Training Program<i>Editor's note: This is our first post from Tyler Donovan, our 2015 PR/Marketing Assistant Festival Intern. Welcome!</i><br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-MrOHpTUqbb0/VYG-qss7KRI/AAAAAAAAAHU/ohKsFDc6wWo/s1600/WP_20150614_12_13_46_Pro.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="179" src="http://4.bp.blogspot.com/-MrOHpTUqbb0/VYG-qss7KRI/AAAAAAAAAHU/ohKsFDc6wWo/s320/WP_20150614_12_13_46_Pro.jpg" width="320" /></a></td></tr>
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<span style="background-color: white; color: #141823; font-family: helvetica, arial, sans-serif; font-size: 12.8000001907349px; line-height: 18px; text-align: left;"><span style="font-size: xx-small;">From left: Katherine R. Weber, Molly Hill, April Martin, Cristina Bakhoum. Maya Kherani, Hannah Christine Busch. and Tatiana Ogan</span></span><br />
<span style="background-color: white; color: #141823; font-family: helvetica, arial, sans-serif; font-size: 13px; line-height: 18px; text-align: left;">The women of the 2015 <a href="http://www.centralcityopera.org/artiststraining" target="_blank">Bonfils-Stanton </a></span><span style="background-color: white; color: #141823; font-family: helvetica, arial, sans-serif; line-height: 18px; text-align: left;"><span style="font-size: 13px;"><a href="http://www.centralcityopera.org/artiststraining" target="_blank">Artists Training Program</a> at "Death by Aria"</span></span></td></tr>
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Last Sunday, the annual Central City Opera “Death by Aria”
concert was held by the participants of the 2015 Bonfils-Stanton Foundation
Artists Training Program. Pieces were performed
from operas by Rossini and Massenet, among others. The concert allows the Young
Artists to demonstrate their skills and acquaint themselves with their fellow
performers and designers. Participants of the Artist Training Program also
function as the chorus for the <a href="http://www.centralcityopera.org/festival" target="_blank">Festival’s operas</a>. </div>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-w5ms6NBt3Hc/VYHAj5Ssx5I/AAAAAAAAAHk/BvQkXe4aQFg/s1600/IsaacAssor-117x159.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-w5ms6NBt3Hc/VYHAj5Ssx5I/AAAAAAAAAHk/BvQkXe4aQFg/s1600/IsaacAssor-117x159.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Studio Artist, Isaac Assor</td></tr>
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Studio Artist <a href="http://www.isaacassor.com/" target="_blank">Isaac Assor</a> is excited for the Festival: “It’s a wonderful season. <i><a href="http://www.centralcityopera.org/lamancha" target="_blank">Man of La Mancha</a></i> was one of my favorite shows growing up, and it’s
nice to get to do that in an opera setting, and <i><a href="http://www.centralcityopera.org/prodigalson" target="_blank">The Prodigal Son</a> </i>has just been really rewarding and challenging”. Assor
will have the chance to be a part of shows outside of the Opera House, one of the unique aspects to this Festival. CCO’s <i>The Prodigal
Son</i> will be performed at churches in Central City and Colorado Springs while
<i><a href="http://www.centralcityopera.org/donquixote" target="_blank">Don Quixote and the Duchess</a></i> will be
featured in a historic venue in Central City as well as the First United
Methodist Church in Fort Collins: opera is being taken "out of the box" this summer.<br />
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The 10-week young artist program provides daily opera training in diction and
movement, makeup and costuming, individual vocal coaching, and sessions in
career management such as how to write a resume and maintain a performance
portfolio, how to audition in order to succeed, combined with rehearsals and
performance opportunities. The widely known program has become a national model
for the comprehensive development of young singers. To learn more, visit one of the following web pages:<br />
<br />
<ul>
<li><a href="http://www.centralcityopera.org/artiststraining" target="_blank">Bonfils-Stanton Foundation Artists Training Program</a></li>
<li>Get to know the <a href="http://www.centralcityopera.org/apprentice" target="_blank">2015 Apprentice Artists</a></li>
<li>Get to know the <a href="http://www.centralcityopera.org/studio" target="_blank">2015 Studio Artists</a></li>
<li>Central City Opera's <a href="http://www.centralcityopera.org/festival" target="_blank">2015 Festival</a>, running July 11 - August 9</li>
<li>Follow Central City Opera's adventures with the hashtag #operaoutofthebox on <a href="https://www.facebook.com/search/str/%23operaoutofthebox/keywords_top" target="_blank">Facebook</a> and <a href="https://twitter.com/search?q=%23operaoutofthebox&src=typd" target="_blank">Twitter</a>, including through the company's year-round offerings with our <a href="http://www/centralcityopera.org/ensemble" target="_blank">Ensemble Artists</a></li>
</ul>
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Anonymoushttp://www.blogger.com/profile/17163963273981422746noreply@blogger.com0Central City, CO, USA39.8019322 -105.5141638999999739.7043137 -105.67552539999997 39.899550700000006 -105.35280239999997tag:blogger.com,1999:blog-3598316967039095354.post-64548330985660060662014-08-06T19:09:00.000-06:002014-08-07T14:01:59.139-06:00Designer Dave Bova Reveals What’s Beneath the Wigs<!--[if gte mso 9]><xml>
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Three summers with <a href="http://www.centralcityopera.org/" target="_blank">Central City Opera</a>, eighteen Broadway
credits, and thirty-two wigs in <i style="mso-bidi-font-style: normal;"><a href="http://www.centralcityopera.org/soundofmusic" target="_blank">The Sound of Music</a>. </i>When asked how many hairs it takes to ventilate a single wig,
consummate Wig and Makeup Designer Dave Bova wisecracked, “Oh God I don’t know.
As many hairs as on the human head…thousands or more.”</div>
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Bova has established himself as one of the business’ most
<a href="http://www.davebovadesign.com/resume.html" target="_blank">sought-after designers</a> – the business of course including straight theatre,
musicals, and opera in professional and educational environments alike. Bova
often finds himself juggling eight to ten projects simultaneously with each
show opening within a three-month period, and somehow he manages it without
coughing up any hairballs. “I have an assistant who’s better than me,” Bova humbly
explained.</div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-_pNIXc7ObQE/U-EiFUNhxhI/AAAAAAAAAOM/p_RcA7whBnE/s1600/61254_10151870344333793_618596931_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-_pNIXc7ObQE/U-EiFUNhxhI/AAAAAAAAAOM/p_RcA7whBnE/s1600/61254_10151870344333793_618596931_n.jpg" height="212" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dave Bova's headshot, courtesy of his <a href="https://www.facebook.com/DaveBovaDesign" target="_blank">webpage</a>.</td></tr>
</tbody></table>
<div class="MsoNormal">
In his nearly twenty-year career, Bova has seen wig designs
evolve just as theatrical aesthetics too have shifted. “The scale of the hair
style would be different. Opera houses are bigger so the hair would be too. That’s
not true anymore; in the last two decades opera has taken a more realistic turn
mostly because people want to see a movie on stage,” he said. “Wigs aren’t
supposed to look wiggy now.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Nowadays, designers like Bova neither attempt to make
unbelievable wigs nor do they necessarily strive for historical accuracy. “If
you want to see period-correct, go to a museum,” Bova bluntly stated. “When
you’re designing, whether it’s set, costume, or hair, it’s not about
period-correct. It’s about what the audience will perceive is real for that
show.” Styles that were in vogue decades or centuries ago may look
anachronistic on stage even if presented truthfully. Thus a crafty wig designer
must sculpt not only what unifies the show’s composition but also what looks reminiscent
of how changing audiences will understand the given period.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Bova put this in perspective for <i style="mso-bidi-font-style: normal;">The Sound of Music,</i> his final show for Central City Opera’s <a href="http://centralcityopera.org/events/2014-summer-festival/events" target="_blank">2014 Festival</a>. “Maria’s wig for her wedding is pushing forward in time. The original
Maria had her hair pulled back in a bun, but that’s not very glamorous for the
stage,” he shared. He also added that in his research images, “every one of the
von Trapp kids were brunettes,” but for Americans to realistically perceive the
characters as full-blood Austrians it helps to style them as mostly blondish.</div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-wJU6ZwgLNvc/U-EiS8G08II/AAAAAAAAAOU/bTkMGEnb6SM/s1600/10402459_10152648777609668_3856627555410093721_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-wJU6ZwgLNvc/U-EiS8G08II/AAAAAAAAAOU/bTkMGEnb6SM/s1600/10402459_10152648777609668_3856627555410093721_n.jpg" height="320" width="210" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Troy Cook as Captain von Trapp and Kate Maley as Maria, sporting<br />
one of Bova's wigs, in <i>The Sound of Music. </i>Photo by Mark Kiryluk.</td></tr>
</tbody></table>
<div class="MsoNormal">
And just in case there was any doubt about why historicism may
not be so practical in today’s theatre, Bova recalled our ancestors' less than
ideal hygienic habits. “Georgian women would wash their hair every three
months. We hardly use the real versions because people today wouldn’t find it
as pretty,” he said.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It’s not just the type of theatre or the show’s setting that
influences a wig’s style – it’s also the genre. “The biggest difference is if
it’s a comedy or a drama or a tragedy; that will really determine look,” Bova
described. The former genre may be more prone to exaggerated and
larger-than-life wigs while the latter two might more often be rooted in
realism.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Bova also shared his experiences working in juxtaposed
theatrical settings. “In commercial theatre, if you screw up the show closes.
In educational theatre the goal is to have a good experience – it’s not about
the end product, it’s about the student learning,” he shared. “I like them all.
When I get sick of one I do the other so it refreshes me. It’s a good balance.”
Central City Opera uniquely blends these contrasting settings:
the shows are produced by opera’s finest, but Bova also gets to oversee and
teach a handful of assistants and interns each summer.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-XsmFofIP59s/U-F4ucu_vII/AAAAAAAAAPM/NJPDeJ1_5Ak/s1600/10480665_10152546017284668_5103547993531707416_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-XsmFofIP59s/U-F4ucu_vII/AAAAAAAAAPM/NJPDeJ1_5Ak/s1600/10480665_10152546017284668_5103547993531707416_n.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With the help of a patron, Bova demonstrates putting on a beard backstage at the<br />
Opera House during this year's Opera Inside-Out. Photo by Erin Joy Swank.</td></tr>
</tbody></table>
</div>
<div class="MsoNormal">
Regardless of the venue, Bova did agree on one key
ingredient for any design process’ success. “Everyone has to make a strong
choice, even if you don’t agree with it,” Bova said. “And then everyone must
compromise so that we can all have a collaborative effort. That’s theatre.”
With such a specific niche as makeup and wig design, Bova often has to defend
his choices by the only way a designer most effectively can – through show and
tell. If a director wants to put a honey-blonde wig on an actor with jet-black
hair, “I prepare for what they want even if I disagree. I make two wigs – what
they want and what I think works best – and put both of them up there, and 90%
of the time I win. You must trust your instincts.” Bova also makes sure that
the wig aligns with the costume and especially lighting designs as a colored gel can
easily manipulate what a wig looks like under working stage lights. All of
this, of course, reinforces Bova’s mantra that theatre is a collaborative art.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“If you don’t like that process then go paint a painting,”
said the lovably salty Bova.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It mustn’t be forgotten that Bova also doubles as a makeup
designer. While this process similarly entails research images and
communication with the director and other designers, its execution is
undeniably less time-consuming than creating a wig or even a mustache from
scratch. Bova elegantly summed up his technique in a likewise brief way:
“Makeup isn’t about changing your skin tone; it’s about flavoring it.”<br />
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-DO959e73Wu8/U-ElB6j2WII/AAAAAAAAAO0/iE3HlR1QbSk/s1600/944797_520797211323853_239681869_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-DO959e73Wu8/U-ElB6j2WII/AAAAAAAAAO0/iE3HlR1QbSk/s1600/944797_520797211323853_239681869_n.jpg" height="212" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Last year Bova designed <i>The Barber of Seville </i>for<br />
Central City Opera's 2013 Festival. Photo by Mark Kiryluk.</td></tr>
</tbody></table>
<div class="MsoNormal">
With so many tasks to complete, employees to manage, and
designs to create, it’s clear why time plays such an important factor in Bova’s
work. A faultless day for Bova, then, involves “having everything just fit,
like a puzzle. Having copious amounts of time and schedule not being an object
is lovely,” he said. Another version of an ideal day is a bit more lax. “Going
to karaoke, cooking a meal…I never get to cook because I’m always busy. In both
respects what ties A and B together is having no restriction of time,” he
stated.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Bova then captured the plight and wonder of an artists’
process. “It’s like eating – you can eat a beautiful meal fast, but it comes at
a price,” he said. “There’s always money and the quality is high, but there’s
never enough time. You can get it all done, but you never get to stop and smell
the roses.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Too many restrictions on time can only lead to onstage
mishaps, creating a wig designer’s worst nightmare. “I did <a href="http://www.cirquedusoleil.com/en/home/shows.aspx" target="_blank">Cirque du Soleil</a> and
a guy had a wig fall off. He was also flipping thirty feet in the air and I
only had two minutes to put it on him. You know, give me impossible tasks and
the impossible will happen,” Bova said.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-PhwhmFg3Iy4/U-F0-5NaLVI/AAAAAAAAAPE/eGv7pgYHxG8/s1600/10455403_10152648777904668_2937765642794879897_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-PhwhmFg3Iy4/U-F0-5NaLVI/AAAAAAAAAPE/eGv7pgYHxG8/s1600/10455403_10152648777904668_2937765642794879897_n.jpg" height="320" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The wig worn by the businesswoman Elsa (Lucy Schaufer, <i>The Sound of Music</i>)<br />
shows a more progressive look than what may have been commonplace in 1940's Austria. Photo by Mark Kiryluk.</td></tr>
</tbody></table>
</div>
<div class="MsoNormal">
Bova also has to manage another near impossible task, even
if it’s unrelated to wigs or makeup. “You have to make times for your personal
life,” he said. “You have to schedule visits, even in the middle of show.” While
he’s stationed in New York, Bova is sometimes more often than not away from his
home. “The hardest part is never sleeping in your own bed,” said an upbeat Bova, chuckling at his vagrant lifestyle. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
What, then, propels Bova to leave his home, fill a taxi with
wigs as if it were a clown car, and temporarily settle in obscurer parts of the
globe?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“I come back for the lack of oxygen,” Bova joked of his
stint in the Rockies. “No, we’re a family here. I kind of have a home in New
York, but I come here for a summer and I sleep in the same bedroom and I have
the same friends.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Bova, once more the wordsmith, encapsulated his cosmopolitan
career. “I have been paid to see so much of the world,” he smiled.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
He may traverse the country and rub elbows with the likes of
Betty Buckley or James Lapine, but at Central City Opera Bova has the rare
treat in the arts to return to old friends and designers each summer. “People
trust me here,” he said of Central City’s intimate family. “For a collaborative art
to have a similar team again...it’s very enjoyable.”<br />
<br />
<div style="text-align: center;">
<div style="text-align: left;">
<i>Catch Dave Bova's wig and makeup designs in </i><a href="http://www.centralcityopera.org/soundofmusic" target="_blank">The Sound of Music</a><i>, playing through this Sunday, </i><i>August 10 at the Ellie Caulkins Opera House in the Denver Performing Arts Complex.</i></div>
</div>
</div>
<!--EndFragment-->Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-3598316967039095354.post-71757397245782731332014-07-31T07:30:00.000-06:002014-07-31T07:30:00.061-06:00How well do you know the von Trapps?The story of the von Trapp family has changed quite a bit over the years. There were even differences between the autobiographies <a href="https://www.google.com/shopping/product/12932924763923422490?q=maria+von+trapp+autobiography&rlz=1C1RNZZ_enUS520US520&es_sm=122&bav=on.2,or.r_cp.r_qf.&bvm=bv.72185853,d.aWw,pv.xjs.s.en_US.GJlYO6OtjZY.O&biw=986&bih=633&tch=1&ech=1&psi=Om3ZU-mtH8uYyATstoKQBw.1406758203811.3&ei=Pm3ZU5jHC4yHyASs3YD4DQ&ved=0CHUQpiswAQ" target="_blank">written by Maria von Trapp</a> and her stepdaughter <a href="https://www.google.com/shopping/product/14138170144896029103?q=maria+von+trapp+autobiography&rlz=1C1RNZZ_enUS520US520&es_sm=122&bav=on.2,or.r_cp.r_qf.&bvm=bv.72185853,d.aWw,pv.xjs.s.en_US.GJlYO6OtjZY.O&biw=986&bih=633&tch=1&ech=1&psi=Om3ZU-mtH8uYyATstoKQBw.1406758203811.3&ei=Pm3ZU5jHC4yHyASs3YD4DQ&ved=0CJQBEKYrMAM" target="_blank">Agathe</a> (portrayed as Liesl in <a href="http://www.centralcityopera.org/soundofmusic" target="_blank"><i>The Sound of Music</i></a>). Can you guess where the following situations first appeared? <br />
<br />
Your choices are:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.the-sound-of-music-guide.com/images/maria-young2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://www.the-sound-of-music-guide.com/images/maria-young2.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">A. Real life</span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.salzburgmuseum.at/typo3temp/pics/d3c856e66e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://www.salzburgmuseum.at/typo3temp/pics/d3c856e66e.jpg" height="320" width="225" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">B. The 1956 German film <i>Die Trapp-Familie</i>, which you can watch on <a href="https://www.youtube.com/playlist?list=PL4Hm5koJj_f3xO0HZQaD71jze1G0XdQpk." target="_blank">YouTube</a> (including English subtitles if you choose closed captions) </span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://sixties60s.com/1960/soundmusic.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://sixties60s.com/1960/soundmusic.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">C. The 1959 Broadway musical <i>The Sound of Music</i> </span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.the-sound-of-music-guide.com/images/opening-sequence2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://www.the-sound-of-music-guide.com/images/opening-sequence2.jpg" height="266" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">D. The 1965 film <i>The Sound of Music </i></span></td></tr>
</tbody></table>
<br />
<ol>
<li>Georg von Trapp uses a whistle to summon his children.<span class="Apple-tab-span" style="white-space: pre;"> </span></li>
<li>Maria creates clothing for the children out of old curtains.</li>
<li>Maria sings “I Have Confidence” while leaving the Abbey for the von Trapp villa.</li>
<li>Maria and Georg return from their honeymoon a few days after the Anschluss (Nazi occupation.)</li>
<li>It is the von Trapp boys’ idea to enter the music festival competition.</li>
<li>Max Detweiler acts as the family’s manager.<span class="Apple-tab-span" style="white-space: pre;"> </span></li>
<li>The von Trapps hide in the Abbey before escaping to Switzerland.<span class="Apple-tab-span" style="white-space: pre;"> </span></li>
<li>Brigitta von Trapp is ten years old.</li>
<li>Maria discusses warm wool mittens.</li>
<li>Louisa can reportedly climb the trellis with a toad in her hand.</li>
</ol>
<div>
The answers can be found on page 49 of Central City Opera's <i><a href="http://www.centralcityopera.org/insider" target="_blank">2014 Opera Insider</a> Festival Resource Guide.</i></div>
<div>
<br /></div>
<div>
<i><a href="http://www.centralcityopera.org/soundofmusic" target="_blank">The Sound of Music</a></i> plays exclusively in the Ellie Caulkins Opera House of the Denver Performing Arts Complex from August 2-10, 2014.</div>
Erinhttp://www.blogger.com/profile/00882378985695047262noreply@blogger.com0tag:blogger.com,1999:blog-3598316967039095354.post-8190902626505208002014-07-30T15:59:00.002-06:002014-07-30T15:59:24.827-06:00The Sound of Music: Comparing TimelinesThe stage and screen versions of <i>The Sound of Music</i> were based on the real-life story of Maria von Trapp....but the timeline of events was severely condensed for dramatic purposes. Take a look below at the comparison; the musical compresses almost twelve years into a little more than three months on stage.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://image2.findagrave.com/photos/2007/306/1610_119411512840.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://image2.findagrave.com/photos/2007/306/1610_119411512840.jpg" height="233" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Maria and Georg von Trapp, whose story famously became <i>The Sound of Music (image from FindAGrave.com)</i></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://centralcityopera.org/wp-content/uploads/2014/07/CCOSOMPromoGeorgMaria.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://centralcityopera.org/wp-content/uploads/2014/07/CCOSOMPromoGeorgMaria.jpg" height="211" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Troy Cook and Katherine Manley in <a href="http://www.centralcityopera.org/soundofmusic" target="_blank">Central City Opera's production</a>, running in Denver August 2-10, 2014 (photo by Kira Horvath)</td></tr>
</tbody></table>
<table border="2" bordercolor="#0033FF" cellpadding="3" cellspacing="3" style="background-color: #99ffff; width: 100%px;"><tbody>
<tr> <th>REALITY</th> <th>MUSICAL</th> </tr>
<tr> <td>Georg von Trapp is born in <b>1880</b>, Maria Augusta Kutschera born <b>1905</b><br />
<b><br />
</b> <b>Around 1924 or 25</b> - Maria enters convent, after graduating college [age 19? - she was there for 2 years]<br />
<br />
<b>Around October 1926</b> - Maria is sent to von Trapps until June - he is 46, she 21, just four years older than eldest son<br />
<br />
<b>March 1927</b> – Princess Yvonne arrives (a distant relative of Georg’s first wife), Yvonne tells Maria that Georg’s in love with Maria but will still marry Yvonne<br />
<br />
<b>May 1927</b> – von Trapp is determined to be engaged to Princess Yvonne but gets pert note from Maria, calls off proposal to Yvonne; thirteen days before Maria is to leave he uses children to ultimately propose (a bit of a modern game of “Telephone”)<br />
<br />
<b>November 26, 1927</b> – <b>Wedding</b><br />
<b><br />
</b> <b>1933</b> - von Trapps lose money investing in Austrian banks, began to take in boarders<br />
<br />
<b>Easter 1935</b> - Father Wasner comes to villa, becomes choral manager<br />
<br />
<b>August 1936</b> – Soprano Lotte Lehman hears singing, insists they do concerts, enter the <b>Salzburg Festival</b> for group singing, which they win; then invited to radio broadcast, heard by Austrian Chancellor Kurt von Schuschnigg who invites them to sing in Vienna; soon the von Trapps are touring the whole map of Europe<br />
<br />
<b>1937</b> - First European tour<br />
<br />
<b>March 12, 1938 </b>- <a href="http://en.wikipedia.org/wiki/Anschluss" target="_blank"><b>Anschluss</b></a>, the Nazi occupation of Austria<br />
<br />
<b>May 1938</b> – Nazis notice they’re not hanging flags<br />
<br />
<b>June 1938</b> – Decline Germans three times in one week, <b>Escape</b> in broad daylight on train to Italy</td> <td valign="top"><b>Dec. 12, 1937*</b>; “until September” - Maria Rainer is sent to von Trapps <br />
<br />
<b>Six Weeks Later </b>[Jan. 23, 1938] - Elsa arrives<br />
<br />
<b>One Week Later</b> [Jan. 30, 1938] - Party; Brigitta tells Maria that Captain is in love with her, Maria runs away<br />
<br />
<b>Three days later</b> [Feb. 2, 1938]- Maria returns, she and Georg are engaged<br />
<br />
<b>Two weeks later</b> [Feb. 16, 1938] – <b>Wedding</b><br />
<b><br />
</b> <b>One month later</b> [March 16, 1938] - von Trapps return from honeymoon and receive news of the new commission (we are told <b>Anschluss</b> was four days ago—the Nazi occupation of Austria on March 12, 1938)<br />
<br />
<b>Three days later</b> [March 19, 1938] - <b>Kaltzberg Festival</b> and <b>Escape</b> [Depicted in the film as being the same night they return from their honeymoon] <br />
<br />
<i>* NOTE: Musical “dates” above are based off the historical date of the Anschluss in Act Two, adjusting other dates by the days and weeks mentioned between scenes.</i></td> </tr>
</tbody></table>
<br />
<i>This timeline was created for Central City Opera's </i><a href="http://www.centralcityopera.org/insider" style="font-style: italic;" target="_blank">2014 Opera Insider</a><i> by Erin Joy Swank, Production Manager/Stage Manager for Education & Community Engagement. Learn more about the creation of </i><a href="http://www.centralcityopera.org/soundofmusic" target="_blank">The Sound of Music</a><i> (and the rest of the 2014 Festival) and read interviews with several of the cast members by checking out <a href="http://www.centralcityopera.org/insider" target="_blank">additional articles</a>.</i>Erinhttp://www.blogger.com/profile/00882378985695047262noreply@blogger.com0tag:blogger.com,1999:blog-3598316967039095354.post-40972304311099039332014-07-28T16:02:00.001-06:002014-07-28T16:02:11.272-06:00MONDAY NUN DAY: Richard Rodgers' Research for The Sound of Music<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><div style="text-align: left;">
For today's <a href="http://centralcityoperafestival.blogspot.com/search/label/Nun%20Day%20series" target="_blank">Monday Nun Day</a> posting, we take a look into the creation of the music sung by the nuns in <i><a href="http://www.centralcityopera.org/soundofmusic" target="_blank">The Sound of Music</a>. </i>Did you know that this liturgical-style music was written specifically for the production? There's also quite a bit more of it in the stage version than what you might remember from the iconic Julie Andrews film...and we're excited to share it with you during the Central City Opera 2014 Festival!</div>
<a href="http://images.nypl.org/index.php?id=1812269&t=w" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://images.nypl.org/index.php?id=1812269&t=w" height="320" width="208" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Richard and Dorothy Rodgers at Manhattanville College of the Sacred Heart at a concert arranged by Mother Morgan for research on <i>The Sound of Music</i> - Photo from <a href="http://digitalgallery.nypl.org/nypldigital/dgkeysearchdetail.cfm?trg=1&strucID=1906991&imageID=1812269&sel_part_title=The+Sound+Of+Music+%281959%2C+Lyrics+By+Hammerstein%29&word&s&notword&d&c&f&k=0&sScope&sLevel&sLabel&lword=61&lfield=21&total=70&num=40&imgs=20&pNum&pos=49" target="_blank">New York Public Library Digital Gallery</a></td></tr>
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Richard Rodgers wrote in <a href="http://www.amazon.com/Musical-Stages-Autobiography-Richard-Rodgers-ebook/dp/B001UE8EEY/ref=sr_1_1?s=books&ie=UTF8&qid=1406584725&sr=1-1&keywords=9780786748464" target="_blank">Musical Stages: An Autobiography</a>:<br />
<blockquote class="tr_bq">
One musical problem confronting me was the opening piece. Rather than begin with the customary overture, we decided to open immediately on a scene in Nonnberg Abbey, in which the nuns are heard chanting a Catholic prayer, "Dixit Dominus." Since I had been so strongly against a score that combined old music with new, I could hardly fall back on using a traditional melody for the mass. Writing "Western" songs for <i>Oklahoma!</i> or "Oriental" songs for <i>The King and I </i>had never fazed me, but the idea of composing a Catholic prayer made me apprehensive. Given my lack of familiarity with liturgical music, as well as the fact that I was of a different faith, I had to make sure that what I wrote would sound as authentic as possible.</blockquote>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://images.nypl.org/index.php?id=1812270&t=r" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://images.nypl.org/index.php?id=1812270&t=r" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Richard Rodgers at Manhattanville College of the Sacred Heart - also from NYPL Digital Gallery</td></tr>
</tbody></table>
<blockquote class="tr_bq">
So for the first time in my life I did a little research - and it turned out to be one of the most rewarding music lessons I've ever had. Through friends I got in touch with Mother Morgan, the head of the music department at Manhattanville College in Purchase, New York. She was not only willing to help; she even invited Dorothy and me to a specially arranged concert at which the nuns and seminarians sand and performed many different kinds of religious music, from Gregorian chants to a modern work by Gabriel Fauré. An unexpectedly amusing moment came when Mother Morgan, waving her arms like a cheerleader at a football game, was vigorously conducting a particularly dramatic passage. As the music built to its peak, above the singing could be clearly heard Mother Morgan's booming command: "Pray it!"</blockquote>
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<tr><td style="text-align: center;"><a href="http://image2.findagrave.com/photos/2012/169/84700131_134006619299.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://image2.findagrave.com/photos/2012/169/84700131_134006619299.jpg" height="320" width="246" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=84700131" target="_blank">Mother Morgan</a> (above) assisted Ricard Rodgers in his research for creating the liturgical music for <i>The Sound of Music.</i></td></tr>
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Catch Richard Rodgers' beautiful music inspired by Mother Morgan and her fellow nuns during <i><a href="http://www.centralcityopera.org/soundofmusic" target="_blank">The Sound of Music</a>. </i>The production runs exclusively at the Ellie Caulkins Opera House in the Denver Performing Arts Complex, August 2-10, 2014.Erinhttp://www.blogger.com/profile/00882378985695047262noreply@blogger.com0tag:blogger.com,1999:blog-3598316967039095354.post-26698971818509745082014-07-24T11:07:00.001-06:002014-07-24T11:12:42.772-06:00Maria Zifchak Discusses her Contrasting Maternal Roles<!--[if gte mso 9]><xml>
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<span style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;">It's a good thing Maria Zifchak is a Libra. By day she
pleads for her condemned son's life while suffocating under the publicity’s scrutiny,
but by night she runs a private, bucolic convent while offering sage advice. Of
course Ms. Zifchak is only acting in both scenarios, but her performances are
so convincing one would think she was leading a double life. <o:p></o:p></span></div>
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<span style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;">“These roles are vastly different,” Zifchak said in
reference to playing the tenacious Mrs. De Rocher in <i style="mso-bidi-font-style: normal;"><a href="http://centralcityopera.org/event/dead-man-walking" target="_blank">Dead Man Walking</a> </i>and the iconic Mother Abbess in <i style="mso-bidi-font-style: normal;"><a href="http://centralcityopera.org/event/the-sound-of-music" target="_blank">The Sound of Music</a></i>.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-2GC2hAn02CQ/U9B5EaLUg3I/AAAAAAAAANs/fatkYnmFIwk/s1600/headshot_color.103225841_std.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-2GC2hAn02CQ/U9B5EaLUg3I/AAAAAAAAANs/fatkYnmFIwk/s1600/headshot_color.103225841_std.JPG" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Maria Zifchak's headshot as featured on her <a href="http://www.mariazifchak.com/" target="_blank">website</a>.</td></tr>
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<span style="color: #222222;"><a href="http://www.centralcityopera.org/" target="_blank">Central City Opera's</a> <i>Dead
Man Walking </i></span><span style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;">opened on July 5, but Zifchak still finds herself
navigating the show’s moral gray area as the mother of a death row inmate who
raped and murdered a teenage girl. “There are still some things that are hard
to understand,” said the seasoned mezzo-soprano. “How does a person feel having
a family member, someone that they created, do such a terrible thing? I’m not a
mother. I’ve said that through this whole rehearsal process; I don’t know how
I’d handle it.” <o:p></o:p></span></div>
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<span style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;">Though not a mother, Zifchak possesses the genuine warmth and compassion all parents strive to exude, and she gracefully brings these traits to her Mrs. De Rocher. “It is a stretch. I have to
try to think in a motherly way, but you can almost do that by thinking about
your family,” she stated. “Even with nieces and nephews you worry about them
and think what their future will be, so that’s kind of motherly.” <o:p></o:p></span></div>
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<span style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;">Zifchak has performed with the esteemed <a href="http://www.metopera.org/" target="_blank">Metropolitan Opera</a>, but she is facing one of her most challenging roles here during her fourth
season in Central City. “She seems like the kind of person who didn’t have that
great of a life, but she did the best she could with raising her kids. No
matter how you raise your kids, you are a product of your environment,” Zifchak
said of Mrs. De Rocher. “I still try to discover the ah-ha moments to get her
inside me.”<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-uI7ytkSVINE/U9B5WTotWYI/AAAAAAAAAN0/jJUUrC7hwu4/s1600/10444667_10152600465559668_2207563980736513535_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-uI7ytkSVINE/U9B5WTotWYI/AAAAAAAAAN0/jJUUrC7hwu4/s1600/10444667_10152600465559668_2207563980736513535_n.jpg" height="212" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Zifchak, as Mrs. De Rocher in <i>Dead Man Walking, </i>says goodbye to<br />
her son Joseph, played by Michael Mayes. Photo by Mark Kiryluk.</td></tr>
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<span style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;">And after completing a harrowing matinee, Zifchak gets to
moonlight in a cheerier role where she’s often spotted high-fiving the <a href="http://www.childrenschorale.org/site/PageServer?pagename=home_page" target="_blank">Von Trapp children</a> and cracking jokes with cast members. <i style="mso-bidi-font-style: normal;">The Sound of Music</i>, opening on August 2 in <a href="http://www.denvercenter.org/main.aspx" target="_blank">Denver</a>,<i style="mso-bidi-font-style: normal;"> </i>may be a lighter piece, but Zifchak is
facing yet another challenge: this will be her first musical since high school.
“The show’s a completely different tone. It’s laidback, its fun, but at the
same time there’s a lot of stress because <i style="mso-bidi-font-style: normal;">everybody</i>
knows this show,” she proclaimed robustly.<br style="mso-special-character: line-break;" />
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<span style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;">On top of the musical’s fame, Zifchak also has to tackle
“Climb Ev’ry Mountain,” one of musical theatre’s most well-known anthems. “It’s
a little nerve-racking, but the song brings out your inner strength,” she said. <o:p></o:p></span></div>
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<span style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;">When comparing her two motherly roles, Zifchak said,
“Mother Abbess is completely different structure-wise. She lives in a stricter
world; there were rules, there were things you had to do in order to run this
abbey. It was just a more structured life, easier in a way than Mrs. De
Rocher’s.” <o:p></o:p></span></div>
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<span style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;">With roles this rich, Zifchak doesn’t seem to mind that
she’s playing two mother figures in one season. “I guess typecasting bothers
some people, but if it makes the show more believable then you’ll be cast how
others see you!” quipped Zifchak.<o:p></o:p></span></div>
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<span style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;">The dual roles have certainly kept Zifchak occupied, but
she still makes time to hike with her three dogs and even people-watch at the
local casinos. Her time here may be approaching its end, but Zifchak is
savoring each moment. “This summer has been a challenge; it has been the gamut
of emotions,” she said deliberately. “I’m glad to have these roles because they’re not that
big – they make their impact, and then they go.”<o:p></o:p></span></div>
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<span style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;">In perhaps <i style="mso-bidi-font-style: normal;">Dead Man
Walking</i>’s most poignant moment, Zifchak as Mrs. De Rocher asks Sister Helen
to take a picture of her and her sons knowing that their family of four will
soon be reduced to three. Zifchak takes the center seat, adjusts her hair, and
proudly gathers her boys around her. The camera flashes, capturing the smiling
family for just a moment before it disappears, fading from everywhere but our
memories.</span><br />
<span style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;"><br /></span>
<br />
<div style="text-align: center;">
<div style="text-align: center;">
<span class="Apple-style-span" style="color: #222222;"><i>Catch Maria Zifchak in the final performance </i></span><br />
<span class="Apple-style-span" style="color: #222222;"><i>of </i>Dead Man Walking </span><span class="Apple-style-span" style="color: #222222;"><i>on Friday, July 25, </i></span></div>
<div style="text-align: center;">
<span class="Apple-style-span" style="color: #222222;"><i>and then come down to </i></span><span class="Apple-style-span" style="color: #222222;"><i>Denver for</i></span><br />
<span class="Apple-style-span" style="color: #222222;">The Sound of Music <i>from August 2-10!</i></span></div>
</div>
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<!--EndFragment-->Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3598316967039095354.post-68060014848567424132014-07-21T16:06:00.000-06:002014-07-24T10:00:52.260-06:00The Versatile Karen Federing on her Role as Director of Production<!--[if gte mso 9]><xml>
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For all its right brain glory, theatre still takes some
math. A simple ratio goes something like this <span class="Apple-style-span" style="font-family: 'Times New Roman', serif; font-size: 16px; line-height: 18px;">–</span> a dozen behind-the-scene workers
for every star shining onstage. Designers create the world of the play while
the director provides the vision. Wardrobe crews help with quick changes while
the stage manager calls the cues. And while all these independent elements
begin to intertwine as show time approaches, Director of Production Karen
Federing assures that each piece fits together financially, professionally, and
artistically. Simply put, Ms. Federing is the cranium to <a href="http://www.centralcityopera.org/" target="_blank">Central City Opera</a>.</div>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-SQg-C5I-Tao/U8s36mk5TNI/AAAAAAAAANM/4ObGf8eVD0E/s1600/unnamed-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-SQg-C5I-Tao/U8s36mk5TNI/AAAAAAAAANM/4ObGf8eVD0E/s1600/unnamed-1.jpg" height="320" width="238" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Director of Production Karen Federing sits on the porch <br />
of her colorful home in Central City, The Pink House.</td></tr>
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“It’s a multifaceted job,” Federing explained before
unleashing her daily helter-skelter schedule of events only she and the
Energizer Bunny could oversee with such zest.<br />
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July may conjure images of balmy beaches and idle evenings,
but Central City is abuzz with <a href="http://centralcityopera.org/festival" target="_blank">performances</a>, rehearsals, and <a href="https://www.facebook.com/media/set/?set=a.10152618739214668.1073741865.19240339667&type=3" target="_blank">photo shoots</a> during
its most dramatic month. Before the working day begins, Federing likes to check
in with Festival Services Manager Allison Taylor on van runs for errands, scheduling
details, and the day’s happenings. Next, she makes her rounds. Federing dutifully
checks in with each department, valuing personal presence, one-on-one time, and
eye contact. “It can take a while to physically get to my desk,” she said. </div>
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Whatever follows varies from day to day. Federing may be handing
out waitlist tickets before a matinee or initialing tomorrow’s schedule as
approval. She might check in backstage to see that a show is running on time or
hold meetings with interns. And then at some point, like all mortals, she stops
to eat. “Sometimes lunch is thankfully catered during recitals, which forces me
to not go anywhere,” Federing laughed.</div>
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Evenings bring more excitement. By sunset Federing has
visited Festival Hall, the company’s nucleus, for a third time. “Sometimes
being a personal presence as opposed to an email is more helpful to people,”
she said. Then the curtain rises at 8:00, but not before Federing can relish
a favorite part of her job.<br />
<br />
Just before the Opera House opens its birch
beer-colored doors, thirty minutes before curtain, Federing stops traffic and
leads her seven uniformed interns across Eureka Street as proudly as a mother
goose chaperones her chicks through a busy stream. "Hit it," Federing beckons once her interns are on safe ground. The interns then chirp their
witty Usher Song as Federing jovially bops along to the music, mouthing along to its tune. Later at 11:00, as the cast takes their bow, Federing rises from her desk and
returns home.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-ZWEIaTR8qks/U8s4xdGEgPI/AAAAAAAAANc/C_ZyXbMX7ZU/s1600/unnamed.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-ZWEIaTR8qks/U8s4xdGEgPI/AAAAAAAAANc/C_ZyXbMX7ZU/s1600/unnamed.jpg" height="239" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Federing smiles with some of her 2014 Interns before <br />
leading them across Eureka Street to sing their Usher Song.</td></tr>
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From all of these interactions – with problem solving
aplenty along the way – it is clear why Federing talks fast, thinks fast, and
acts fast. She has perhaps the most interactive job at Central City Opera, a
fact she initially did not connect to her degree in anthropology from George
Washington University. Federing first wanted to be a primatologist, but she has
recently discovered how her current job is indeed sociological in nature.
“The truth is, in whatever environment you work there’s a culture associated
with it,” she said. “We all have this one agenda, so you have to bring everyone
together to move forward. You have to be curious about people and enjoy working
with people.” Her college classes may not cross her mind much nowadays, but
Federing, as personal in tête-à-têtes as she is gregarious at parties, still
benefits from her anthropological core.</div>
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Federing is charismatically kinetic, even in the off-season. She spends the
remaining eight months at her home in Yonkers, which she lovingly calls her
“satellite office.” Now in her thirteenth summer with Central City
Opera, Federing has been a year-round employee for about four years.<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-ibKT9iabvzE/U8s4YU5LcxI/AAAAAAAAANU/X9QUJNwYzvE/s1600/unnamed-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-ibKT9iabvzE/U8s4YU5LcxI/AAAAAAAAANU/X9QUJNwYzvE/s1600/unnamed-2.jpg" height="320" width="239" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Federing poses with Festival Services Manager Allison Taylor<br />
on June 28, the Opening Night for the 2014 Festival.</td></tr>
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In October
she’s organizing the coming season’s budget. By November she’s checking in with
staff to see who will return. After the holidays she’s <a href="http://www.skype.com/en/what-is-skype/" target="_blank">Skyping</a> hopeful interns,
and come springtime she’s answering umpteen emails asking, “What will my
housing be like?” She chuckles at this one, knowing its answer takes at least a
phone call to justly explain Central City’s quirk and charm. And finally in May, Federing’s the first non-local employee* to arrive in Colorado <span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">–</span> but not before making the three-day,
cross-country drive from waterside Yonkers to alpine Central City with clothing
and shoes galore. “I pack less and less every year,” she assured. “I used to bring
out bags of hangers until I thought, ‘Good lord, Federing, buy some hangers!
You’re schlepping them across the country like a crazy woman.’”<br />
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The off-season may be slightly more languid, but Federing
still prefers summertime's buzz. It all starts on one of Federing’s favorite
days: when the young interns arrive. “It’s just the excitement of the season
beginning,” she shared. “Everyone’s well-rested and enthusiastic. They may be
huffing and puffing from the altitude, but they’re ready to roll.”</div>
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Indeed, Federing may be more than just the ever-pulsing cranium to Central City Opera. “Another ideal day is when [company members] start coming in telling me the work they’re going to do next,” she reflected before taking an unconventional pause. “I’ve watched people’s posture
change with confidence; you can see that over two-and-a-half months. You watch
somebody bloom,” she said, her eyes glistening. “You do the math – that’s fourteen interns over thirteen summers. To me that’s a lot of lives to touch.”<br />
<br />
<i>*During the off-season, the Central City Opera reduces to approximately a dozen staff members in the Denver administrative office, keeping the company running all year long and offering <a href="https://www.blogger.com/"><span id="goog_2119660341"></span>year-round programming</a> throughout Colorado and Wyoming.</i></div>
<!--EndFragment-->Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3598316967039095354.post-76023421617184492742014-07-09T11:28:00.001-06:002014-07-10T12:51:04.653-06:00DEAD MAN WALKING's Jennifer Rivera on Balancing Music, Motherhood, and Morality<!--[if gte mso 9]><xml>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-ge28xX6yVs0/U6ia1ai7X8I/AAAAAAAALm0/-OsxxJCyTOQ/s1600/JenniferRivera.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-ge28xX6yVs0/U6ia1ai7X8I/AAAAAAAALm0/-OsxxJCyTOQ/s1600/JenniferRivera.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jennifer Rivera<br />
(Sister Helen Prejean, <br />
<a href="http://www.centralcityopera.org/deadman" target="_blank"><i>Dead Man Walking</i></a>)</td></tr>
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<a href="http://www.jenniferrivera.com/index2.php" target="_blank">Jennifer Rivera</a> barely leaves the stage. In the past year
alone, she’s performed in Boston, Omaha, and Milwaukee. Now she’s starring as
Sister Helen Prejean in Central City Opera’s <i style="mso-bidi-font-style: normal;"><a href="http://www.centralcityopera.org/deadman" target="_blank">Dead Man Walking</a> </i>where, during a nearly three hour tour de force, she leaves the
stage for a twenty-five second costume change. When she does leave the stage (and then the Opera House), Rivera is fulfilling another full-time job: she’s the
mother of a year-and-a-half-old boy.</div>
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“This is the hardest role I’ve done since having my son,”
Rivera said, a fact no one is arguing.</div>
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It’s more than the stage time that makes this role, based
off of the experiences of <a href="http://www.sisterhelen.org/" target="_blank">the real Sister Helen Prejean</a>, so demanding. In <i style="mso-bidi-font-style: normal;">Dead Man Walking</i> Sister Helen writes to,
befriends, and ultimately redeems Joseph De Rocher, a fictionalized murderer
and rapist on Louisiana's death row. She travels through Bible Belt heat only to be frozen
by the questions of the victims’ parents. She climbs the prison system’s
endless bureaucratic ladder only to faint from exhaustion. And she instills
warmth and forgiveness in De Rocher only to see him injected with lethal
poison.</div>
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“I balance because my parents are both here,” Rivera explained.
“That’s how I manage. They’re here not to just help me take care of my son, but
for emotional support as well. My dad after the opening said, ‘My gosh, now I
understand what you’ve been going through.’”</div>
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<tr><td class="tr-caption" style="text-align: center;">Jennifer Rivera, as Sister Helen, stars in Central City Opera's <i>Dead Man Walking</i>.<br />
Photo by Mark Kiryluk<i>.</i></td></tr>
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Despite these challenges, mezzo-soprano Rivera approached the role as any
professional would – by reading the eponymous <a href="http://www.dmw20.org/" target="_blank">book</a> upon which Jake Heggie and
Terrence McNally’s opera is based. “The thing I took away from her book was Sister
Helen’s basic idea of compassion and dignity for all human beings, and yet it’s
easy to not think about it because when you’re dealing with criminals you
forget about their humanity.”</div>
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Rivera further humanizes her Sister Helen by physicalizing
her doubts and understanding the justice the opposing side craves. “I was
associating a lot with the parents because I’m a mother, so the scenes with the
parents asking, ‘How can you possibly counsel this person who killed my child?’
really resonated with me,” Rivera said. “Those parts upset me; I could
understand what the parents were saying.”<br />
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Luckily, Rivera juxtaposes the heavy opera with Colorado's scenic delights. "It's bucolic here," she said. With rehearsals ended she now has more time to spend with her son and family in Central City and on day trips.</div>
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This is a difficult show, however, to not ponder after the curtain call. Aside from trying to make sense of the opera’s moral gray
area, Rivera has heard how the show also divides its audience. Capital
punishment is still legal in Colorado and <a href="http://www.deathpenaltyinfo.org/states-and-without-death-penalty" target="_blank">31 other states</a>, though
many sympathize with its victims. Others feel differently. “My husband did tell
me that there was a guy sitting next to him who was really stoic all night and
only applauded when the paralegal announced that the death sentence would
stay,” Rivera shared. </div>
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Regardless of opposing views, Rivera found ways to fuel
Sister Helen’s altruistic spirit. First, she created easy camaraderie with <a href="http://ada-artists.com/artist-roster/michael-mayes/" target="_blank">Michael Mayes</a> who plays the imprisoned De Rocher. “We’ve known each other for years,
and then we worked together this past fall,” she stated. Naturally, the characters’
emotional journeys further brought them together. “He’s very convincing. I was
giving him hugs during the breaks!” said Rivera.</div>
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<tr><td class="tr-caption" style="text-align: center;">Jennifer Rivera in a scene with Michael Mayes who plays <br />
death row inmate Joseph De Rocher in <i>Dead Man Walking.</i> Photo by Kira Horvath.</td></tr>
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She also met <a href="http://jakeheggie.com/" target="_blank">composer Jake Heggie</a> after a dress rehearsal. “He
could not be nicer or more supportive,” she beamed. “It kind of comes out in
his music too; his music’s very compassionate.” Heggie also gave Rivera a
pointer after the show – he wanted her to find Sister Helen’s inner joy. This
was not a difficult shift for the contagiously warm Rivera, but a particular phone
call certainly helped make her understand Heggie’s note. </div>
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“He got me in contact with Sister Helen,” Rivera said. “She’s
all the things you hope she would be – she’s a good listener, very
compassionate, very down to earth. She said she feels a kinship with all the
women who play her because she feels like we go through her emotional journey in a certain way. You can’t really compare acting this
scenario to living it and witnessing people die, but she was like, ‘You know,
it’s kind of the same thing. You’re experiencing it in your own way,’ which is
a pretty generous way of thinking about it.”</div>
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Their real life experiences may be unique, but Rivera is
truly not so different from her role’s namesake. Both women are tireless,
passionate, and work to broaden their respective audiences’ outlooks. “The show
makes me want to talk about this subject,” Rivera said. “It makes me feel proud
to be a part of it because I feel it could affect someone’s opinions.”<br />
<br />
<i><a href="http://www.centralcityopera.org/deadman" target="_blank">Dead Man Walking</a> runs through July 25th at the Central City Opera House.</i></div>
<!--EndFragment-->Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3598316967039095354.post-63319963911263133742014-07-01T07:30:00.000-06:002014-07-01T07:30:00.548-06:00What to Listen for in THE MARRIAGE OF FIGARO<i><span style="font-family: inherit;">Today's blog post is from an article in our <a href="http://www.centralcityopera.org/insider" target="_blank">2014 Opera Insider Festival Resource Guide</a>, written by Education & Community Engagement Coordinator Emily Murdock.</span></i><br />
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<a href="http://3.bp.blogspot.com/-T_m414TCKmw/U7HtKgPxdEI/AAAAAAAALwE/J8kWtNRcRHU/s1600/WhatToListenForFigaro.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" src="http://3.bp.blogspot.com/-T_m414TCKmw/U7HtKgPxdEI/AAAAAAAALwE/J8kWtNRcRHU/s1600/WhatToListenForFigaro.JPG" height="136" width="400" /></span></a></div>
<h4>
<span style="font-family: inherit; font-weight: bold;">Music & Class Status</span></h4>
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<span lang="en-US" style="font-family: inherit;">Mozart’s librettist for </span><span lang="en-US" style="font-family: inherit; font-style: italic;"><a href="http://www.centralcityopera.org/figaro" target="_blank">The Marriage of Figaro</a></span><span lang="en-US" style="font-family: inherit;"> was Lorenzo Da Ponte. This was their first collaboration (of three), and it’s often said that Mozart and Da Ponte were the Dream Team of opera. </span><span lang="fr" style="font-family: inherit;">Da Ponte adapted Beaumarchais’s 1784 play </span><span lang="fr" style="font-family: inherit; font-style: italic;">La folle journée, ou le Mariage de Figaro </span><span lang="fr" style="font-family: inherit;">into a tight, clever libretto. But since Da Ponte was well aware that </span><span lang="en-US" style="font-family: inherit;">Beaumarchais had gotten into hot water over his politically charged play, he was careful to avoid any potentially inciting scenes and lines in his libretto. Instead, this controversial content played out in Mozart’s music. </span></div>
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<span style="font-family: inherit;"><span lang="en-US">In the Classical era (as we now know it) of opera, it was conventional for the noble and upper class characters to sing a </span><span lang="en-US" style="font-style: italic; font-weight: bold;">recitativo accompagnato</span><span lang="en-US">, or accompanied recitative, before their major aria. </span><span lang="en-US" style="font-style: italic;">Recitativo accompagnato</span><span lang="en-US"> is recitative that is accompanied by the full orchestra, not just the harpsichord and basso continuo (usually played by the cello). It gives the impression that the singer is commanding the response of the orchestra or vice versa – very much a dialogue </span><span lang="fr"><o:p></o:p></span><span lang="en-US">between the two musical entities. It was </span><span lang="en-US" style="font-style: italic;">not</span><span lang="en-US"> conventional for a character of a lower class to sing this particular form. But in </span><span lang="en-US" style="font-style: italic;">The Marriage of Figaro</span><span lang="en-US">, Mozart gave all four of his main characters – the Count, the Countess, Figaro, and Susanna – accompanied recitative and arias. This put the servants on equal footing as their masters – an idea that was blatantly obvious in the French play, but made more subtle in the opera. Consider also the order in which Mozart has the characters singing their arias: the Count in Act 3, scene 4 (“</span><a href="http://youtu.be/XzErPt-GKtk"><span lang="en-US">Hai già vinta la causa</span></a><span lang="en-US">”…”Vedrò mentre io sospiro”); the Countess in Act 3, scene 8 (“E Susanna non vien”….”Dove sono”); Figaro in Act 4, scene 8 (“Tutto è disposto”…”Aprite un pó quegl’occchi”); and Susanna finally in Act 4, scene 10 (“</span><a href="http://youtu.be/qUtVfUrr1rA"><span lang="en-US">Giunse alfin il momento”…”Deh vieni non tardar</span></a><span lang="en-US">”). Does this order mean that the servants get the last word? And in addition to that, do the women get the last word over the men? This is a possibility, and the idea very much underlines the themes in the play.</span></span></div>
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<span style="font-family: inherit;"><span lang="en-US">Another convention that Mozart broke is through his use of </span><span lang="en-US" style="font-weight: bold;">rustic meters </span><span lang="en-US">in unexpected contexts. Rhythmic meter in music is the organization of music into regularly recurring measures or bars of stressed and unstressed "beats.” “Rustic” meters were those that had the feeling of triplets, like 6/8. They were to be used exclusively for lower class characters in certain situations, like peasant dances or shepherds singing, for example. Possibly to put his two heroines on more equal footing, Mozart uses the 6/8 meter in the famous duet between Susanna and the Countess,</span><span lang="en-US" style="font-style: italic;"> </span><span lang="en-US">“</span><a href="http://youtu.be/mLIeW2StODA?t=34s"><span lang="en-US">Sull’aria”…“Che soave zeffiretto</span></a><span lang="en-US">,” when they are writing a letter together to deceive the Count. </span></span></div>
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<a href="http://3.bp.blogspot.com/-CqxZ96WVw-0/U7HuE-S3gLI/AAAAAAAALwQ/JWASVhn02sY/s1600/Sullario.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" src="http://3.bp.blogspot.com/-CqxZ96WVw-0/U7HuE-S3gLI/AAAAAAAALwQ/JWASVhn02sY/s1600/Sullario.png" height="180" width="400" /></span></a></div>
<span style="font-family: inherit;">It may be one of the most beautiful and serene-sounding duets of all time, yet it is in the meter of a lower class. </span><br />
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<span style="font-family: inherit;"><span lang="en-US">Mozart does this again in Susanna’s aria “Deh vieni non tardar” near the end of the opera. After singing her “noble” accompanied recitative, Susanna sings a beautiful aria about anticipating love – set in a rustic meter while she is dressed as the Countess. Conversely, Figaro’s aria “</span><a href="http://youtu.be/_i9H4HeiSGg?t=4s"><span lang="en-US">Se vuol ballare</span></a><span lang="en-US">” in Act 1 is set to a noble dance meter, the courtly minuet in 3/4. <o:p></o:p></span></span><br />
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<a href="http://3.bp.blogspot.com/-t-cfuvNrAb8/U7HuE4aRFeI/AAAAAAAALwU/xr6NDpWR3A8/s1600/FigaroArio.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" src="http://3.bp.blogspot.com/-t-cfuvNrAb8/U7HuE4aRFeI/AAAAAAAALwU/xr6NDpWR3A8/s1600/FigaroArio.png" height="130" width="400" /></span></a></div>
<span style="font-family: inherit;"><span lang="en-US"><br />
</span> </span><br />
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<span lang="en-US" style="font-family: inherit;">Figaro sings the words “If he wants to dance, my dear little Count, I’ll play the guitar for him, indeed.” The fact that a servant sings these impertinent words to a noble dance meter clearly turns the tables on who is in control in this lower class/upper class relationship. These kinds of musical nuances may be lost on today’s audiences, but they were certainly pushing boundaries in Mozart’s time. <o:p></o:p></span></div>
<span lang="en-US" style="font-family: inherit;"> </span><br />
<div class="MsoNormal">
<span style="font-family: inherit;"><br />
</span> <i><span style="font-family: inherit;">Check out the <a href="http://www.centralcityopera.org/insider" target="_blank">2014 Opera Insider</a> for the rest of Emily's article, as well as <i>history on the productions and what inspired the composers and librettists to write them, interviews with the artists, conversation-starting questions and activities….even a musical version of Sudoku!</i></span></i></div>
</div>
Erinhttp://www.blogger.com/profile/00882378985695047262noreply@blogger.com0tag:blogger.com,1999:blog-3598316967039095354.post-47408671590052172782014-06-30T14:23:00.000-06:002014-06-30T22:32:46.149-06:00Central City Opera Begins 2014 Festival with a (Dynamite) Bang<!--[if gte mso 9]><xml>
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<span style="mso-bidi-font-family: Tahoma; mso-bidi-font-size: 13.0pt;">The mining town of Central City runs reliably like clockwork: ominous clouds followed by only light rain between 2:00 and 4:00 in the afternoon,
then a bustling Eureka Street at 5:00, and finally a starry sky at midnight above
the Rockies. On June 28, however, there was only sunlight, the traffic consisted of
waltzing fathers and daughters, and the night was starry per usual, but this time
alight with the dazzling cast and crew of Central City Opera’s <i style="mso-bidi-font-style: normal;"><a href="http://www.centralcityopera.org/figaro" target="_blank">The Marriage of Figaro</a>. <o:p></o:p></i></span></div>
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<span style="mso-bidi-font-family: Tahoma; mso-bidi-font-size: 13.0pt;">Opening Night for Central City Opera’s <a href="http://centralcityopera.org/events/2014-summer-festival/events" target="_blank">2014 Festival</a> ran without a
hitch. Denverites enjoyed the balmy weather as they arrived in Central City on
Saturday afternoon in summer dresses and tuxedos. Children and grandparents, patrons
and <a href="http://centralcityopera.org/guild/overview" target="_blank">Guild</a> members sauntered up and down Eureka Street, annually closed off for
the opening’s festivities where cameras snap and champagne pops. The historic
Johnson House and budding Teller House Garden hosted the opera patrons as they
lounged in the sun before the day’s events began.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;">The Opera House basks in Saturday's sun on its 2014 Festival's Opening Day.</td></tr>
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<span style="mso-bidi-font-family: Times; mso-bidi-font-size: 16.0pt;">The familiar dinging of the Opera Bell rang for the first time this
season at 4:50 PM </span><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 16.0pt;">– </span><span style="mso-bidi-font-family: Times; mso-bidi-font-size: 16.0pt;">Festival Staffer Austin Abernathy announced
that the Flower Girl presentation for the Yellow Rose Ball, Colorado’s oldest
debutante ceremony, would begin in ten minutes. Powerful as the Opera Bell is,
it was the booming dynamite blast at 5:00 PM from the staff of <a href="http://www.hideegoldmine.com/" target="_blank">Hidee Gold Mine</a> that truly kicked off
the Festival. Chairman Emeritus Lanny Martin then introduced each of the 24
Flower Girls as they gracefully descended from the top floor of the Teller
House down into its garden. Donning white gloves, the teenagers looked lovely
in lavender as they assembled one by one in front of the Opera House,
accompanied by their dapper escorts, for a photo op.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-Ek5kZ3iiTsQ/U7Cb-LQKmnI/AAAAAAAAAL4/9IHrxfZJFlU/s1600/1604695_10152570682169668_4818339501357906784_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-Ek5kZ3iiTsQ/U7Cb-LQKmnI/AAAAAAAAAL4/9IHrxfZJFlU/s1600/1604695_10152570682169668_4818339501357906784_n.jpg" height="158" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The 24 Flower Girls and their escorts pose in front of<br />
the Opera House for a photo shoot.</td></tr>
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<span style="mso-bidi-font-family: Tahoma; mso-bidi-font-size: 13.0pt;">Finally, General/Artistic Director Pelham "Pat" Pearce opened the Opera
House and welcomed everyone to the 2014 Festival to near-dynamite applause.
Pearce then directed everyone’s attention to the steps of St. James Methodist
Church where the ushers sang their cheeky preshow tune. “We’re the ushers who
show you to your seat, then nonchalantly we step upon your feet,” they sang,
marching to the front of the Opera House.<o:p></o:p></span></div>
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<br /></div>
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<span style="mso-bidi-font-family: Tahoma; mso-bidi-font-size: 13.0pt;">Once the ushers finished their song, Central City Mayor Ron Engels
presented the Opera Bell to Nancy Parker, Central City Opera’s current
president. Parker rang the bell which signaled the St. James’ chimes to open Eureka
Street for the Yellow Rose Waltz. Escorts then presented the Flower Girls to
their fathers. Fathers and daughters began waltzing, then mothers joined in,
and finally the rest of the guests until Eureka Street was swaying in three/four
time, a harmony of lavender dresses, black tuxedos, and glimmering jewelry.<o:p></o:p></span></div>
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<span style="mso-bidi-font-family: Tahoma; mso-bidi-font-size: 13.0pt;"><br /></span></div>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-ALSnKvnqCYQ/U7CcXpc-mgI/AAAAAAAAAMA/9kdD-9tBifU/s1600/unnamed.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-ALSnKvnqCYQ/U7CcXpc-mgI/AAAAAAAAAMA/9kdD-9tBifU/s1600/unnamed.jpg" height="320" width="239" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Festival Services Manager Allison Taylor (blue dress) <br />
poses with this year's ushers/interns.</td></tr>
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<span style="mso-bidi-font-family: Tahoma; mso-bidi-font-size: 13.0pt;">Guests next enjoyed a sumptuous meal (provided by <a href="http://www.ktrg.net/" target="_blank">Kevin Taylor Restaurant Group</a>) in the Teller House before <i style="mso-bidi-font-style: normal;">The Marriage of Figaro</i>’s 8:00 curtain. At intermission, Flower
Girls handed out yellow nosegays to patrons so that they could be tossed onto
the stage during curtain call. By the time lead performers <a href="http://imgartists.com/artist/michael_sumuel" target="_blank">Michael Sumuel</a> and
<a href="http://www.annachristy.com/Home.html" target="_blank">Anna Christy</a> (as lovelorn servants Figaro and Susanna) took their bows, the stage
and orchestra pit below were flooded with flowers. The cast – joined by
conductor <a href="http://www.adriankelly.eu/" target="_blank">Adrian Kelly</a>, director <a href="http://www.alessandrotalevi.com/" target="_blank">Alessandro Talevi</a>, and his talented team of
<a href="http://centralcityoperafestival.blogspot.com/2014/06/susan-kulkarni-hops-across-pond-to.html" target="_blank">designers</a> – beamed as some tried to snatch the whizzing nosegays.<o:p></o:p></span></div>
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<br /></div>
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<span style="mso-bidi-font-family: Tahoma; mso-bidi-font-size: 13.0pt;">“[It’s a joy] watching t</span><span style="mso-bidi-font-family: Helvetica;">he
principal artists rehearse and perform. As a young artist, I love observing how
they interact with the director, maestro, fellow principals, crew, and chorus,”
said Kelsey Park, a Studio Artist who plays a maid and other ensemble roles in <i style="mso-bidi-font-style: normal;">Figaro</i>. “We also have a blast backstage –
getting ready in the dressing rooms is an exciting adventure. We ladies enjoy a
lot of laughs.”<o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-juUnDo29Xc8/U7Cc2wzaGMI/AAAAAAAAAMI/eFXIuWAEeDU/s1600/10458486_838746189243_6297032759761798008_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-juUnDo29Xc8/U7Cc2wzaGMI/AAAAAAAAAMI/eFXIuWAEeDU/s1600/10458486_838746189243_6297032759761798008_n.jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fathers waltz with their daughters, the Flower Girls,<br />
on Eureka Street on Opening Night.</td></tr>
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<span style="mso-bidi-font-family: Helvetica;">Following
the performance, the company congregated on the second floor of Williams' Stables
for the after party. Still maintaining <i style="mso-bidi-font-style: normal;">Figaro</i>’s
1920s Spain concept, <a href="http://www.lifestylescatering.com/" target="_blank">Lifestyles Catering</a></span><span style="mso-bidi-font-family: Helvetica;"> provided a themed meal complete with
vegetable paella and panzanella salad with sangria, concocted by Events
Assistant Sarah Harrison complete with oranges, lemons, and limes.</span><br />
<span class="Apple-style-span" style="line-height: normal;"><br /></span>
<span class="Apple-style-span" style="line-height: normal;">Harrison had the laborious task of planning the
party and making sure that everyone, from the interns to the principal performers,
enjoyed themselves in the stables-turned-dancehall. “I had a lot of various
details in my head from logistics to food and decorations, so putting
everything together and finalizing everything was definitely the most
challenging part. Seeing it all gradually come together has been incredibly
rewarding,” Harrison said.</span></div>
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<span style="font-family: Times; mso-bidi-font-family: Tahoma; mso-bidi-font-size: 13.0pt;"><br /></span>
<span style="font-family: Times; mso-bidi-font-family: Tahoma; mso-bidi-font-size: 13.0pt;"><a href="http://www.centralcityopera.org/figaro" target="_blank">The Marriage of Figaro</a><i> continues through July 26th. The second Festival production, </i><a href="http://www.centralcityopera.org/deadman" target="_blank">Dead Man Walking</a>,<i> opens July 5th and runs in repertory through the 25th.</i></span></div>
<!--EndFragment-->Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3598316967039095354.post-57457851477609651942014-06-25T18:46:00.000-06:002014-06-25T18:52:46.042-06:00Preview of our Singers from our First Dress Rehearsal of FIGARO!The cast of <i><a href="http://www.centralcityopera.org/figaro" target="_blank">The Marriage of Figaro</a> </i>is quite excited to finally be in costume! <a href="http://centralcityoperafestival.blogspot.com/2014/06/susan-kulkarni-hops-across-pond-to.html" target="_blank">Susan Kulkarni</a> did a beautiful job designing the 1920s inspired costumes, and we're excited to share them with a live audience on Opening Night, June 28. Until then, take a sneak peak at our social media-savvy singers tweeting, Facebooking and Instagram-ing themselves in costume backstage!<br />
<div align="center">
<br />
<iframe allowtransparency="true" frameborder="0" height="350" scrolling="no" src="//instagram.com/p/pppTtzzJIx/embed/" width="300"></iframe><br />
<iframe allowtransparency="true" frameborder="0" height="350" scrolling="no" src="//instagram.com/p/ppm4Mmoz0h/embed/" width="300"></iframe> <br />
<iframe allowtransparency="true" frameborder="0" height="350" scrolling="no" src="//instagram.com/p/ppcWKRTJDp/embed/" width="300"></iframe> </div>
<blockquote class="twitter-tweet" lang="en">
Almost orchestra dress rehearsal time <a href="https://twitter.com/ccityopera">@ccityopera</a> for <a href="https://twitter.com/hashtag/Figaro?src=hash">#Figaro</a> <a href="https://twitter.com/hashtag/CCO2014?src=hash">#CCO2014</a><br />
— Michael Sumuel (@MichaelSumuel) <a href="https://twitter.com/MichaelSumuel/statuses/481601124042940417">June 25, 2014</a></blockquote>
<script async="" charset="utf-8" src="//platform.twitter.com/widgets.js"></script> <br />
<div align="center">
<iframe allowtransparency="true" frameborder="0" height="350" scrolling="no" src="//instagram.com/p/ppefjWm2fp/embed/" width="300"></iframe> </div>
<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-X5SyVw0Ax9E/U6tPQM0Ra_I/AAAAAAAAALc/KYlQCnsgZjU/s1600/10494828_740294576013792_6259716421744127369_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-X5SyVw0Ax9E/U6tPQM0Ra_I/AAAAAAAAALc/KYlQCnsgZjU/s1600/10494828_740294576013792_6259716421744127369_n.jpg" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From Joseph Gaines, Tenor's <a href="https://www.facebook.com/jgtenor" target="_blank">Facebook page</a></td></tr>
</tbody></table>
<br />
Thanks for viewing, and we hope to see you at one of our <a href="http://centralcityopera.org/events/2014-summer-festival/events" target="_blank">2014 Festival</a> performances!Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3598316967039095354.post-44706155706827827262014-06-24T18:17:00.000-06:002014-06-25T22:47:40.104-06:00Central City Opera Perks Up: Gift Shop Now Sells Cholua Brothers' Coffee<!--[if gte mso 9]><xml>
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<div class="MsoNormal">
Central City Opera patrons are used to the <a href="http://centralcityopera.org/about-us/gift-shop" target="_blank">gift shop’s</a> usual
souvenirs. Homemade fudge, jewelry, and t-shirts with the summer's shows printed on them comprise the habitual goods. There are even some ornate and educational coffee table books,
from <i style="mso-bidi-font-style: normal;">Opera in the Rockies </i>to <i style="mso-bidi-font-style: normal;">Theatre of Dreams</i>, yet there has never
been any coffee. This year, the <a href="http://centralcityopera.org/events/2014-summer-festival/events" target="_blank">2014 Festival</a> is finally getting a little more
caffeinated.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Brothers Dave and Anthony <a href="http://www.choluabros.com/" target="_blank">Cholua</a> never meant to kick-start a
coffee business. “Coffee roasting was just a hobby,” spokesman and co-owner Dave
Cholua said. The brothers and their family always enjoyed crafting homemade
<a href="http://www.choluabros.com/coffee-liqueur.html" target="_blank">coffee liquor</a>, a creamy recipe gleaned from their ancestors, but their business
never went farther than gifting the liquor to friends at Christmastime. Well,
until they started experimenting with coffee roasting.</div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-E1HbXRIYTas/U6na20X8dKI/AAAAAAAAAK4/1tjCuwBkgoo/s1600/The%2520Roast%2520-%2520Image%2520The%2520Cholua%2520Brothers.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-E1HbXRIYTas/U6na20X8dKI/AAAAAAAAAK4/1tjCuwBkgoo/s1600/The%2520Roast%2520-%2520Image%2520The%2520Cholua%2520Brothers.jpg" height="223" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Brothers Dave (left) and Anthony Cholua display their<br />
Naturally Flavored, Medium Roast and French Roast coffees in their store.</td></tr>
</tbody></table>
<div class="MsoNormal">
“People would tell us, ‘Do you realize you have the
smoothest, boldest taste in the coffee business?’” Cholua said, and so the brothers
considered opening their own company. Anthony had enough saved from bartending
in Black Hawk, which also allowed him to perfect the liquor recipe, and Dave
had the marketing know-how as a graphic designer. The business idea percolated
into Cholua Bros. Mining Co., their fully realized and self-owned coffee store
located in a centurial barn in Black Hawk. The brothers also enjoy recreational
mining – their family emigrated from Poland in the 1800’s searching for gold –
and often sport helmets and Western attire reminiscent of the gold rushes, hence
the company’s title. “We get people trying to sell us mining equipment,” Cholua
humorously lamented, “so we subtitled the business, ‘An Old Time Coffee
Store.’” </div>
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<br /></div>
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The brothers’ rather spontaneous career shift became an even
quicker reality. “The city of Black Hawk welcomed us with open arms,” a
grateful Cholua said. The brothers had been selling their products online since
last May, but when Black Hawk approved their lease they put the business in the
barn, opening their doors on October 20. </div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-y_6g1SzKTEs/U6nbua8VQDI/AAAAAAAAALA/YHPE7zLfizY/s1600/Cholua%2520Bros.%2520Mining%2520Co..jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-y_6g1SzKTEs/U6nbua8VQDI/AAAAAAAAALA/YHPE7zLfizY/s1600/Cholua%2520Bros.%2520Mining%2520Co..jpeg" height="203" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cholua Bros. Mining Co. is located on 470 Gregory Street in Black Hawk<br />
in a historic barn that is more than one hundred years old.</td></tr>
</tbody></table>
<div class="MsoNormal">
The coffee beans hail from Brazil, but the brothers credit their
natural flavors – vanilla, hazelnut, and pure caramel – and the high altitude
roasting to their steaming success. The mountainous elevation and cool Rocky air are
ideal for roasting as it produces a quicker coffee at a lower temperature,
which prevents scorching. “We started roasting at 10,000 feet,” Cholua said. At
such a high elevation, the brothers may be making coffee at the highest
altitude in the United States. “That was our ore,” he smiled.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
While Cholua Bros. Mining Co. also sells local barbeque
sauces, pickled green beans, and even gold canning kits made by a professional
geologist, the brothers emphasize that they run a coffee store and not a coffee
shop. There are tables to sit at, but coffee is only sold in bags. If a
customer wants to sample a flavor, however, the cup is always on the house. By
this fall, one year from their grand opening, the brothers also hope to sell
their famous coffee liquor. “It makes Kahlúa taste like cough medicine,” Cholua
joked. Perhaps this will be another treat sold in the Central City Opera Gift
Shop for the 2015 Festival.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“Two of the things I’ve heard we needed are ice cream and coffee,
and now we have both,” said Wanda Larson, Central City Opera’s Office
Administrator and Gift Shop Buyer. “We love having local vendors in the gift
shop; I’m very excited to have them.” Larson also added that 100% of the gift
shop’s proceeds always return to the Opera.</div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-soWgGFRlvoY/U6ndKXz5UsI/AAAAAAAAALM/Q57MQr1vkJ8/s1600/photo-29.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-soWgGFRlvoY/U6ndKXz5UsI/AAAAAAAAALM/Q57MQr1vkJ8/s1600/photo-29.JPG" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stop by the Central City Opera Gift Shop beginning June 28<br />
to buy some of the Cholua brothers' coffee!</td></tr>
</tbody></table>
<div class="MsoNormal">
Larson heard about Cholua Bros. Mining Co. in a
newspaper and has since seen the pair around Gilpin County at various community
events, from the Black Hawk Block Party to <a href="http://centralcityoperafestival.blogspot.com/2014/06/central-city-celebrates-annual-madam.html" target="_blank">Madam Lou Bunch Day </a>in Central City.
“<a href="http://www.hammondscandies.com/" target="_blank">Hammond’s Candies</a> [in Denver] is also selling our product, and they’re going
to try out our liquor for their fudge. It’s a pleasure working with <a href="http://centralcityopera.org/" target="_blank">Central City Opera</a> and Hammond’s Candies; these are two vintage landmarks,” Cholua said.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The brothers look forward to appearing at Central City Opera
on June 28, the 2014 Festival’s <a href="http://www.centralcityopera.org/openingnight" target="_blank">Yellow Rose Ball</a> and opening night of <i style="mso-bidi-font-style: normal;"><a href="http://centralcityopera.org/event/the-marriage-of-figaro" target="_blank">The Marriage of Figaro</a></i>. They will also
be present at each opera performance to sell their product at intermission and meet local patrons.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
More than caffeinating, the brothers’ fresh coffee is also
rejuvenating. “A little while ago I got a message from a woman in Michigan
while in the Indianapolis airport on my way home from a friend’s wedding,”
Cholua shared. “She said her husband has Stage IV esophagus cancer and hasn’t
been able to drink coffee in two years, but she bought some of our coffee while
out here. ‘He’s gone through half a bag!’ she told us and then ordered three
bags online. Maybe it’s less acidic…we’re not coffee experts, but that was a
pretty cool story.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For now, the brothers are just happy to have satisfied
customers and a uniquely crafted product. “It’s the most labor of love we’ve
ever had,” Cholua said. “If we can make enough to retire, we’re the luckiest
guys. And maybe that’s why it’s been so successful, because we love it so much.”<br />
<br />
<i>The Central City Opera Gift Shop is located in the historic Teller House just downhill of the Opera House in Central City. For </i><a href="http://www.centralcityopera.org/soundofmusic" target="_blank">The Sound of Music</a><i> our gift shop will be located in the lobby of the Ellie Caulkins Opera House.</i></div>
<!--EndFragment-->Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3598316967039095354.post-29133321710851880582014-06-23T16:09:00.001-06:002014-06-23T16:30:12.669-06:00Dead Man Walking stars on public radio this past weekendIf you're a fan of <a href="http://www.cpr.org/" target="_blank">Colorado Public Radio</a>, you might have caught two of our <i>Dead Man Walking</i> artists over the airways this weekend. (They both play nuns, by chance, so we'll call this another honorary "<a href="http://centralcityoperafestival.blogspot.com/search/label/Nun%20Day%20series">Monday Nun Day</a>" post.) If you missed them, it's no problem – you can listen to them now online!<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-ge28xX6yVs0/U6ia1ai7X8I/AAAAAAAALmw/Qk2BRn3ZwDc/s1600/JenniferRivera.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-ge28xX6yVs0/U6ia1ai7X8I/AAAAAAAALmw/Qk2BRn3ZwDc/s1600/JenniferRivera.jpg" /></a></div>
Saturday evening , <a href="http://www.jenniferrivera.com/" target="_blank">Jennifer Rivera</a> (Sister Helen Prejean, <i>Dead Man Walking</i>) performed on Public Radio International's <i>A Prairie Home Companion</i>. Last week saw the release of her <a href="http://naxosusa.com/2014/the-garrison-keillor-songs/" target="_blank">EP album <i>The Garrison Keillor Songs</i></a>, five songs written by the author and host. Jennifer was featured in sketches throughout the evening, introduced as coming directly from Central City to be on the show. She was serenaded by Keillor with a new song that included her name in it, and performed Handel's "Ombra mai fù" and Cherubina's aria "Non, so più cosa son" from <i><a href="http://www.centralcityopera.org/figaro" target="_blank">The Marriage of Figaro</a>. </i>(While Central City Opera performs <i>Figaro </i>this summer, Rivera is not in that particular cast.) In addition to participating in several sketches, Jennifer sang "Unification," a song with lyrics written by Keillor, set to music by Robert Aldridge (from the previously-mentioned album). Listen to the entire <a href="http://prairiehome.publicradio.org/listen/?date=2014/06/21" target="_blank">June 21 <i>A Prairie Home Companion</i> broadcast online</a> now.<br />
<br />
<blockquote class="twitter-tweet" lang="en">
"Non so più" from Mozart's Le Nozze di Figaro — <a href="https://twitter.com/jjennymr">@jjennymr</a> <a href="http://t.co/mbx9gLpgXk">pic.twitter.com/mbx9gLpgXk</a><br />
— Prairie Home Comp. (@prairie_home) <a href="https://twitter.com/prairie_home/statuses/480487399839911936">June 21, 2014</a></blockquote>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-DaPmZh5fzUE/U6ia9lk6XTI/AAAAAAAALm4/78ycFKPlDAk/s1600/JeanineDeBique.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://2.bp.blogspot.com/-DaPmZh5fzUE/U6ia9lk6XTI/AAAAAAAALm4/78ycFKPlDAk/s1600/JeanineDeBique.jpg" /></a></div>
<script async="" charset="utf-8" src="//platform.twitter.com/widgets.js"></script>This weekend, another public radio program, <i>This American Life,</i> featured the talents of <a href="http://www.jeaninedebique.com/" target="_blank">Jeanine De Bique</a> (Sister Rose, <i>Dead Man Walking</i>) during a special musical radio drama episode. As De Bique described it on her <a href="https://www.facebook.com/jfdebique" target="_blank">Facebook page</a>, her comedic debut was a "...live broadcast of the true story 'Locked in closet' by my friend Carin Gilfry. I play the Jamaican maid that rescues her! There are elves, german tourists, a bored receptionist and a surprise guest Composer! Watch the trailer!"<br />
<iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="//player.vimeo.com/video/98352514" webkitallowfullscreen="" width="500"></iframe> <br />
<span style="font-size: x-small;"><a href="http://vimeo.com/98352514">THIS AMERICAN LIFE: LIVE AT BAM - Trailer</a> from <a href="http://vimeo.com/user1675063">This American Life</a> on <a href="https://vimeo.com/">Vimeo</a>.</span><br />
<br />
The<a href="http://www.nytimes.com/2014/06/09/theater/a-mix-of-fact-and-imagination-as-seen-on-radio.html?_r=0" target="_blank"> New York Times review of the episode</a> included the following description:<br />
<blockquote>
Brooklyn Academy of Music’s opera house must have hosted plenty of Valkyries in its time. But Jeanine De Bique is almost certainly the first to stride onstage accessorized with a broom and dishwashing gloves, singing about how much she hates her job. Her angry soprano aria was among the many blissful surprises of “The Radio Drama Episode” — Saturday night’s embraceable live performance for the public-radio show “This American Life” that devoted itself to documentary dramas of true stories.</blockquote>
You can now stream the entire <a href="http://www.thisamericanlife.org/radio-archives/episode/528/the-radio-drama-episode" target="_blank">June 20 radio drama episode of </a><i><a href="http://www.thisamericanlife.org/radio-archives/episode/528/the-radio-drama-episode" target="_blank">This American Life</a> </i>online, with a special <a href="http://live.thisamericanlife.org/" target="_blank">video option</a> available as well for a small fee.<br />
<br />
Catch both of these talented women in <i><a href="http://www.centralcityopera.org/deadman" target="_blank">Dead Man Walking</a></i> at the Central City Opera House July 5 to 25, 2014. Tune in to <a href="http://www.cpr.org/" target="_blank">Colorado Public Radio</a> this coming weekend as well, for the<a href="http://www.centralcityopera.org/broadcast" target="_blank"> live broadcast of <i>The Marriage of Figaro</i> opening night, Saturday, June 28th.</a>Erinhttp://www.blogger.com/profile/00882378985695047262noreply@blogger.com0tag:blogger.com,1999:blog-3598316967039095354.post-18851865171448974282014-06-21T17:46:00.002-06:002014-06-21T23:20:38.228-06:00Central City Celebrates Annual Madam Lou Bunch Day<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal">
Central City is lovably quirky. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It’s known simultaneously for its singing Opera House and
dinging casinos. Its elevation is nearly 8,500 feet, placing it among the
<a href="http://www.city-data.com/top13.html" target="_blank">highest cities in the country</a>. And once a year it’s host to dames on beds being
pushed around by townsfolk in drag.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-Eu7QmVyjqi4/U6YXabaXSyI/AAAAAAAAAKI/amy-fYKpWnk/s1600/10492442_10152912434527542_791186366716766828_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-Eu7QmVyjqi4/U6YXabaXSyI/AAAAAAAAAKI/amy-fYKpWnk/s1600/10492442_10152912434527542_791186366716766828_n.jpg" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Interns McEntee, Abernathy and Ting posing in costume <br />
in the Opera Garden before the Madam Lou Bunch parade commenced</td></tr>
</tbody></table>
</div>
<div class="MsoNormal">
Madam Lou Bunch Day is arguably Central City’s most unique
event. Bunch was a notorious prostitute in the 1880s who allegedly grew too
wide to physically leave her brothel’s brass bed. To annually commemorate one of
Central City’s most colorful characters, locals dress up in costumes ranging from stuffy Victorian to saucy barmaid. Additionally, many compete in the Bed Races where a
pair of boys push ladies-on-beds-on-wheels up and down Main Street. The teams
often dress in a costumed theme, with prizes for the fastest teams and slickest
costumes.</div>
<div class="MsoNormal">
<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-tH-KX3yYsYE/U6YaQ6xFfHI/AAAAAAAAAKc/S5bo1vn2r5E/s1600/unnamed.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-tH-KX3yYsYE/U6YaQ6xFfHI/AAAAAAAAAKc/S5bo1vn2r5E/s1600/unnamed.jpg" height="239" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ladies of Central City dress up as brothel women<br />
for Madam Lou Bunch Day and pose on the bed that was used in the races</td></tr>
</tbody></table>
</div>
<div class="MsoNormal">
Eight teams competed in the Bed Races this year, all representing
local businesses from <a href="http://central-city.cnty.com/" target="_blank">Century Casino</a> to <a href="http://www.centralcityopera.org/" target="_blank">Central City Opera</a>. This year three CCO
interns (cross-)dressed as characters from the upcoming three shows in
the <a href="http://centralcityopera.org/events/2014-summer-festival/events" target="_blank">2014 Festival</a>. Props Intern Austin Abernathy owned the garconne look with
his flappers dress for <i style="mso-bidi-font-style: normal;"><a href="http://www.centralcityopera.org/figaro" target="_blank">The Marriage of Figaro</a>, </i>which<i> </i>will be set in the 1920s. Assistant House Manager Dahlia Ting donned
prison garb (and a myriad of tattoos) to showcase <i style="mso-bidi-font-style: normal;"><a href="http://centralcityopera.org/event/dead-man-walking" target="_blank">Dead Man Walking</a>,</i> and Marketing/Public Relations Assistant Billy
McEntee dressed as a nun for <i style="mso-bidi-font-style: normal;"><a href="http://centralcityopera.org/event/the-sound-of-music" target="_blank">The Sound of Music</a></i>.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-bRegVW0mf_8/U6YX1k2QSdI/AAAAAAAAAKQ/BpzMvhqm2Zg/s1600/10403290_10204215587249332_7055455943992519589_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-bRegVW0mf_8/U6YX1k2QSdI/AAAAAAAAAKQ/BpzMvhqm2Zg/s1600/10403290_10204215587249332_7055455943992519589_n.jpg" height="320" width="180" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Abernathy pushes McEntee and Ting uphill during the back nine of the Bed Races</td></tr>
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While these dynamic garments sadly did not merit the Best Costumes award, the three youngsters did take home the Maiden Voyage ribbon for their first time competing. The speedy workers at <a href="http://www.johnnyzscasino.com/" target="_blank">Johnny Z's Casino</a>, the reigning champions, came in first place and won $300. Nevertheless, the CCO racers succeeded in advertising their upcoming productions and entertaining townsfolk with their enthusiasm, irreverent costumes and loopy steering.</div>
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