Art is seeing ourselves seeing each other seeing. It is a heightened state of consciousness -- an aesthetic experience as opposed to an anesthetic one -- in which we become fully aware of the mystery of our selfness and sameness.
Is this really what you want to do with your life? I know, I know, you've already been asked this by countless teachers and coaches and young artist program leaders and even relatives and well meaning strangers in Starbucks who see you carrying a binder of music.
Ideas and Answers- PART III of a 3-part series on the Black Classical Singer experience. "And in so many ways, that never-failing miracle -- the cons...
I have accepted a position at The Center for Contemporary Opera in New York City as the company's very first Director of Artistic Development.In other words, I finally get to work at an opera company doing the one thing I might be even more passionate about than singing; bringing opera to as many people as possible.
So, I was reading a Facebook posting by one singer who happened to comment on how he customarily looks, from the stage to the audience, for other Black faces. This struck me because it is an added dimension to the singer experience that I never thought about, which led me to start a very frank discussion with quite a few singers.
There are a bunch of secrets to listening to classical music. For me the big turning point was recognizing the chronology of the music, so you can actually get in a composer's head.
Last week, 80 New York socialites attended an intimate and luxurious evening of live opera at the Wellness Building on 66 East 11th Street where both Deepak Chopra and Leonardo DiCaprio have purchased apartments.
Please note: This is Part I of a three-part article. Stay tuned. PART I "Because here's the thing -- the road ahead is not going to be easy. It ne...
I think that theater, with an eye to the development of new performative languages and adaptation to the times, will manage to redeem its role in upcoming years, a role that is as indispensable for every community as that of a hospital or school.
The opera's conductor laughed when I told him. "I recall teaching one of my protégés how to use a rotary phone; he kept looking for buttons to push." "Boy or girl?" I quipped.
The other night in Louisville, in rehearsal at Kentucky Opera, staging my new verismo opera, "A Woman in Morocco," just before the running of the Kentucky Derby, I realized just how much opera singers and thoroughbred racehorses have in common.
One of my first jobs after graduating music school was a production of Cosi Fan Tutte with Eugene Opera. As is typical with regional opera companies who rent performance venues, rehearsal space is always an issue.
Today -- finally! -- is the day. After a horrific winter featuring the coldest recorded temperatures in the past 81 years combined with a flu vaccine of historic inefficacy, spring has finally shown up.
I was startled when I read an article written by the music critic of the Dallas Morning News criticizing both Dallas Opera and Fort Worth Opera Festival for an "unbalanced" season with too many world premieres and not enough standard/existing repertoire.
I go around and around about classical music and opera not being popular, especially with younger audiences. It really bugs me. How do you get them to enjoy it and not make it feel so foreign?
The principals for this season's Ballo are the same that sang the premiere of the current production in 2012 with one main exception -- Beczala taking over the role of King Gustavo III of Sweden. And with Levine now conducting the always splendid Met Orchestra, the evening is a musical joy.