Podcast
Inside Opera
Hosted by Cincinnati Opera · EN
Journey backstage with Harry T. Wilks Artistic Director Evans Mirageas and other special guests to discuss everything opera. In this podcast, you'll learn about the life and work of everyone from seasoned stage directors to rising contemporary composers and more!
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From Stage to Air: Cincinnati Opera partners with 90.9 WGUC to broadcast 2024 Summer Festival
Oct 7, 2024Tap to summarize90.9 WGUC will broadcast Cincinnati Opera’s production of Paul McCartney’s Liverpool Oratorio this November. Photo: Philip Groshong. For nearly 50 years, Cincinnati Opera and 90.9 WGUC have collaborated to bring the magic of live opera to listeners across the region, making the Opera’s performances accessible to all.The partnership between the longtime neighbors (WGUC is currently situated across the street from Music Hall’s back door*) began in 1977, when WGUC started broadcasting Cincinnati Opera performances live from the stage. Thanks to a generous gift from the Corbett Foundation, a state-of-the-art recording studio was built at Music Hall, ensuring that these performances were captured with the highest quality and making it possible for audiences near and far to experience the thrill of live opera at home.The collaboration reached another milestone in 1980 when WGUC used its uplink capability for the first time to broadcast Cincinnati Opera’s production of The Pirates of Penzance not just locally, but to listeners in San Francisco, Boston, Philadelphia, and other U.S. cities. Fast forward to now, and the tradition continues as WGUC airs Cincinnati Opera’s 2024 Summer Festival performances on Sunday evenings this November. Starting November 3, listeners can tune in to hear Cincinnati Opera’s thrilling productions of Mozart’s Don Giovanni (Nov. 3), Verdi’s La Traviata (Nov. 10), and Paul McCartney’s Liverpool Oratorio (Nov. 17). Each broadcast begins at 8 p.m. ET and can be heard locally on 90.9 FM or online at wguc.org. Whether you’re a lifelong fan or new to opera, WGUC’s broadcasts of Cincinnati Opera’s season offer everyone the chance to enjoy world-class performances wherever they are.Cincinnati Opera’s 2024 Summer Festival broadcasts on 90.9 WGUC are made possible through the generous cooperation of Local 1, the Cincinnati chapter of the American Federation of Musicians, and the American Guild of Musical Artists. Thanks also go to the Louis and Louise Nippert Charitable Foundation; H.B., E.W., and F.R. Luther Charitable Foundation, Fifth Third Bank, Trustee; and The Willard and Jean Mulford Charitable Fund and The Victoria L. Memmel Charitable Fund of the Cambridge Charitable Foundation for their support.*WGUC, along with their parent company, Cincinnati Public Radio, will be moving to their newly constructed headquarters in Evanston over the coming months. Learn about this exciting project here.
Transcribe →Celebrating National Classical Music Month: Evans's Top 10 American Opera Arias
Sep 9, 2024Tap to summarizeSeptember is National Classical Music Month! To celebrate, Cincinnati Opera’s Harry T. Wilks Artistic Director Evans Mirageas rounded up his top 10 American opera excerpts. Happy listening!1. “Bess, You Is My Woman Now” from The Gershwins’ Porgy and Bess 2. “The Willow Song” from Douglas Moore’s The Ballad of Baby Doe 3. “Must the winter come So soon?” from Samuel Barber’s Vanessa 4. “A Quality Love” from Richard Danielpour’s Margaret Garner 5. “Peculiar Grace” from Terence Blanchard’s Fire Shut Up in My Bones 6. “To this We’ve Come” from Gian Carlo Menotti’s The Consul 7. “Ain’t it a pretty night?” from Carlisle Floyd’s Susannah 8. “Our Very Own Home” from Gregory Spears’s Fellow Travelers 9. “A Weekend in the Country” from Stephen Sondheim’s A Little Night Music 10. “Listen to the Rain” from Marc Blitzstein’s Regina
Transcribe →Class Act: Cincinnati Opera Takes Center Stage in Schools
Sep 9, 2024Tap to summarizeFor students across Greater Cincinnati, school is back in session, and with it, a new year full of possibilities. Cincinnati Opera is excited to play a role in enhancing students’ learning by partnering with local schools on a variety of arts-based educational offerings geared toward young people of all ages. A standout offering—one that’s new this year—is Discover the World of Lalovavi: An Afrofuturism Opera. Lalovavi (which translates to “love”) is a brand-new opera commissioned by Cincinnati Opera that will receive its world premiere at Music Hall. Set hundreds of years into future, Lalovavi follows Persephone, a young girl who discovers that she carries a rare gene that could unlock eternal life, setting her on a journey of self-discovery and adventure. This program, a 2-3 day experience geared toward students in grades 7-12, invites them to dive into the captivating world of Afrofuturism and create their own futuristic stories, sparking creativity and discussion around the opera’s themes of identity and heritage.For the youngest audiences, Opera and Oranges is a delightful introduction to opera for children ages 3-6. This program combines an opera-themed storybook with live music, inviting kids to sing along and engage with the story. Plus, there’s a healthy snack involved—making it a fun and enriching experience that also promotes nutritious eating.Opera Storybook Hour is perfect for slightly older kids, ages 5-10, who love a mix of music and crafts. Professional opera singers bring stories to life with their voices, followed by creative activities like crafting masks inspired by characters from operas like The Magic Flute. It’s a wonderful opportunity to engage students in storytelling, music, and hands-on art.For students ages 10 and up, Behind the Voice offers an insider’s look into opera careers. Participants hear from professional singers about their journeys—from vocal training to auditions—and enjoy live performances. Students benefit from these unique peeks into diverse career pathways within the arts. Masterclass is another fantastic opportunity for students of all ages to learn directly from opera professionals. In these sessions, artists provide insights on vocal technique, stage presence, and the art of musical storytelling. The personalized feedback given to young performers helps them refine their skills and grow their confidence within a supportive environment.Another all-ages offering is Stagebound!, a 30-minute touring show that brings opera straight to schools and community spaces. With a mix of narration, song, and a high-energy costumed finale, it’s a lively introduction to opera that’s both accessible and entertaining.Last but not least, there’s Opera and Yoga and Music in Motion, both of which combine movement and music to exercise both mind and body. Cincinnati Opera’s school-based educational programs highlight the power of the arts to inspire creativity, build confidence, and open up new perspectives for students. Programs are also highly flexible and can be customized to suit varying time limits and budgets. To learn more, visit us online.
Transcribe →A Summer at the Opera: Meet some of Cincinnati Opera’s 2024 Summer Interns!
Jul 30, 2024Tap to summarizeEvery summer, Cincinnati Opera welcomes a flood of interns to support their summer season. This gives way to an incredible opportunity for students of varying fields of study to gain real world experience in a professional arts setting. These internships range from directing and lighting all the way to philanthropy and educational outreach. I, myself, had the incredible chance to be this year's communications intern for the summer festival series and wanted to share the experience of a few other interns! Andrea Saavedra Ferreira Community Engagement and Education intern Rising Junior at Northern Kentucky University with a major in Psychological Science and a minor in Spanish. “As the community engagement and education intern, I have gotten the opportunity to connect with different local non-profits, work with youth and elderly, produce community-wide programs, create interactive activities and crafts for youth educational programs, and publish an article and a program for a community event. My favorite memory was finding out my sister and I were in Cincinnati Opera's Instagram and Facebook for student tickets ads based on a 2023 photo of my family attending The Barber of Seville! After graduating from Northern Kentucky University, my goal is to go to graduate school for school psychology in Chicago and implement the opera's education programs into school's curriculum as well as kickstarting collaborations with the arts organizations for music/art therapy sessions for special needs and sensory-friendly students!”Callie Hartel Costume Intern Summer 2024 graduate from Colorado State University in Apparel Design. “Through this internship, I have assisted the costume department with multiple tasks. I organized costumes, took notes during fittings, made paperwork and files for organization, and attended production meetings. I have been able to work closely with many different staff members to help and learn about the costume department. My favorite memory from this season has been all the orchestra dress rehearsals. These nights were the first times I was able to see the show all put together with all the costumes out on stage. It was my favorite night for every show and I hope to become a designer in the future. I am open to continuing in either the costume industry or the fashion industry with my main goal to act as a designer.”Johnny ...
Transcribe →Phil Groshong: Celebrating 40 years at the Opera
Jun 24, 2024Tap to summarizeFor 40 years, Philip Groshong has been behind the camera at Cincinnati Opera, capturing everyone's favorite productions and fostering a relationship with the company. His journey with Cincinnati Opera began with a simple phone call—he reached out and asked if he could photograph their events. This proactive approach not only landed him a role with the opera but also opened doors with other local organizations like the Cincinnati Reds. Cincinnati Opera’s 2002 production of Dead Man WalkingPhoto taken by Phil Groshong Groshong (known to many as “Photo Phil) started his journey with the opera photographing a Cincinnati Opera Young Professionals' event. Eventually he formed a friendship with former CEO (now General Director Emerita) Patty Beggs, and he found himself growing more involved with the arts and opera. Among his favorite Cincinnati Opera productions are Susanna and Dead Man Walking, which he captured with a keen eye for detail and emotion. What resonates most with Groshong about opera is its ability to transport him—he finds solace in closing his eyes and immersing himself in the symphonic melodies and powerful vocals. Groshong's passion for photography ignited in a friend's darkroom, initially as a hobby rather than a career path. However, his dedication and love for the craft soon paved the way to a fulfilling profession. As retirement approaches, Groshong focuses less on commercial photography, now selecting only projects that align with his passions. He finds joy in photographing locales depicted on old postcards, studying the changes over time, and honing his photographic skills. Ironically, what drew him to photography—friendship—is also what keeps him rooted at Cincinnati Opera. He holds deep admiration for the staff and members of the opera community, cherishing the connections he has cultivated over the years. Groshong's enduring commitment to Cincinnati Opera is not merely about capturing moments but about cherishing the relationships and experiences that have enriched his journey behind the lens. To celebrate Photo Phil’s legacy, his work will be displayed in the P&G Founders Room during the 2024 production of La Traviata.
Transcribe →Synchronicity, Paint, and Paul McCartney
Jun 20, 2024Tap to summarizeBy Erica Reid The Liverpool Cathedral Painter Maggie Barnes had only been home in Cincinnati for two weeks when she received news that made her jaw drop. Barnes had been conducting a deep-dive into the music of Paul McCartney for an extensive series of paintings inspired by his work. In the summer of 2023 she traveled to the UK to gather inspiration, including studying and painting the sites that McCartney explores in his 1991 Liverpool Oratorio. A mere two weeks after that trip ended, her daughter phoned to ask if she had heard the news: in 2024, Cincinnati Opera would be giving the world premiere performance of the stage adaptation of the Liverpool Oratorio. “I told her, you have to be mistaken,” Barnes remembers, still astounded. Barnes reached out to the Opera and a partnership was formed. Her series of eight paintings tracing the storyline of the Liverpool Oratorio, including the striking Liverpool Cathedral, will be displayed in the P&G Founders Lounge during the opera’s premiere, and another two dozen related works will grace the walls of nearby Wash Park Art Gallery. For Barnes, this lucky happenstance is only one of countless ways that art has added delight to her life. Proudly sober since 2003 — a fact she is comfortable discussing publicly — Barnes looks back on the way that painting and other artistic pursuits have helped her guide her life. After losing an artist friend due to issues related to alcoholism, she began looking for healthy ways to process her grief. “This idea came to me: why not pick up a paintbrush instead of a drink?” she recalls. Barnes had never painted in a serious way before, but 20 years later, has hardly missed a day at her easel. “I found out I paint as obsessively and as emphatically as I ever drank,” she says with a wry laugh. Barnes feels her art and her sobriety are so entwined it’s difficult to separate them — not only did she pursue painting to support her sobriety, but the tools and processes of her sobriety have also made her a stronger artist. “I painted like my life depended on it,” she adds. “And it did.”
Transcribe →2024 Summer Festival Featured Artist: Katrina Dienno
Jun 13, 2024Tap to summarizeThis summer, Cincinnati Opera is featuring Katrina Dienno’s artwork to be displayed during our 2024 production of Don Giovanni. Dienno is an illustrator, educator, and printmaker based in Cincinnati who has had her work featured in local and national exhibitions. Much like how our season features strong female characters and artists through the art of opera, her work features the representation of women in mythology, folklore, and fairytales. Her large-scale relief woodblock prints represent the cultural relevance of how women have historically been portrayed. As a sneak peek into what you will see from her this season, check out some of her work with her words below! Spill the Tea 72” x 36” Woodcut on paper This woodblock was inspired by several different fairytales, most notably, The Island of Happiness by Madame Marie-Catherine d’Aulnoy, who also coined the term “fairytale.” She and her works are not as well-known as her male counterparts of the time but include many powerful and complex female main characters. Spill the Tea also has hints of Greek Mythology, references to Lewis Carroll’s Alice in Wonderland, and Leonardo da Vinci’s The Last Supper. Tiamat 72” x 36” Woodcut on paper In Ancient Mesopotamian mythology, Tiamat was the primordial mother goddess and personification of saltwater and chaos and is often depicted as a serpent or a dragon. Together with Apsu, god of freshwater, she births a family of gods and goddesses. One of the later gods, Marduk, decides to overthrow Tiamat and with his arrow, shoots her in the heart, and splits her in half. Her top half becomes the heavens and her bottom half the Earth. From her tears sprang the Tigris and Euphrates Rivers. I chose to display Tiamat as both a hybrid serpent-dragon figure displaying immense raw power and carnage. Ships and boats have traditionally been a male-dominated field with the ships bearing women’s names. I chose to have Tiamat violently split this ship into two halves, much like her body from the original myth. Joan of Arc 36” x 42” Woodcut on paper Joan of Arc, a famous historical and mythical figure, is the patron saint of France. She claimed she received divine visions from God, and it was her mission to free France from British occupation. Although she never fought in battle, just her presence on the battlefield was enough to rally the French army’s spirits and lead them to victory. She was eventually captured and sold to the English and put on trial for heresy and wearing men’s clothing. She was found guilty and burned at the stake at the age of nineteen. &nbs...
Transcribe →Making Opera Accessible to All: Cincinnati Opera’s Access Night
Jun 12, 2024Tap to summarizeDisability Pride Flag Access to opera can sometimes feel out of reach, especially for audience members with diverse abilities and accommodation needs. Cincinnati Opera strives to change that with its second annual Access Night at the Opera, on Saturday, June 15, with its season-opening production of Mozart's Don Giovanni. Access Night is also presented in part to celebrate Disability Pride Month, which takes place in July. For more events surrounding Disability Pride Month, please visit the Disability Pride Cincy website. What makes Access Night different from other Cincinnati Opera performances? This special evening is designed to shine a light on the numerous accessibility resources available at Music Hall. In fact, many of these services and resources are available at every Cincinnati Opera mainstage performance! Some of the accommodations available on Access Night and throughout the season include: ASL-interpreted Opera Insights One hour before the performance in Music Hall’s Corbett Tower (Access Night only) Large-print programs Braille programs Projected English translations Visible above the stage and on screens throughout the auditorium during the performance. Audio description Live descriptions of the stage action for people who are visually impaired. Assistive listening system Special devices designed to enhance the sound of the performance. Wheelchair spaces All levels of Music Hall are accessible by elevator and wheelchair spaces with companion seats are on each floor. Accessible parking and assistance for people using wheelchairs Bariatric seating We’re grateful to our partners at the Cincinnati Association for the Blind and Visually Impaired (CABVI) as well as the Clovernook Center for the Blind and Visually Impaired for helping make many of these resources available. Please visit the Accessibility page on our website for more information. Access Night Partners <img data-stretch="false" data-image="https://images.squarespace-cdn.com/content/v1/57127c202fe13107b61658fd/55b71513-acaa-4069-965f-7d3f2b630b31/New%2BClovernook%2Blogo%2Bvertical%2Bcolor.jpg" data-image-dimensions="300x238" data-image-focal-point="0.5,0.5" alt="" data-load="false" elementtiming="system-image-block" src="https://images.squarespace-cdn.com/content/v1/57127c202fe13107b61658fd/55b71513-acaa-4069-965f-7d3f2b630b31/New%2BClovernook%2Blogo%2Bvertical%2Bcolor.jpg?format=1000w" width="300" height="238" sizes="(max-width: 640px) 100vw, (max-width: 767px) 25vw, 25vw" onload="this.classList.add("loaded")" srcset="https://images.squarespace-cdn.com/content/v1/57127c202fe13107b61658fd/55b71513-acaa-4069-965f-7d3f2b630b31/New%2BClovernook%2Blogo%2Bvertical%2Bcolor.jpg?format=100w 100w, https://images.squarespace-cdn.com/content/v1/57127c202fe13107b61658fd/55b71513-acaa-4069-965f-7d3f2b630b31/New%2BClovernook%2Blogo%2Bvertical%2Bcolor.jpg?format=300w 300w, https://images.squarespace-cdn.com/content/v1/57127c202fe13107b61658fd/55b71513-acaa-4069-965f-7d3f2b630b31/New%2BClovernook%2Blogo%2Bvertical%2Bcolor.jpg?format=500w 500w, https://images.squarespace-cdn.com/content/v1/57127c202fe13107b61658fd/55b71513-acaa-4069-965f-7d3f2b630b31/New%2BClovernook%2Blogo%2Bvertical%2Bcolor.jpg?format=750w 750w, https://images.squarespace-cdn.com/content/v1/57127c202fe13107b61658fd/55b71513-acaa-4069-965f-7d3f2b630b31/New%2BClovernook%2Blogo%2Bvertical%2Bcolor.jpg?format=1000w 1000w, https://images.squarespace-cdn.com/content/v1/57127c202fe13107b61658fd/55b71513-acaa-4069-965f-7d3f2b630b31/New%2BClovernook%2Blogo%2Bvertical%2Bcolor.jpg?format=1500w 1500w, https://images.squarespace-cdn.com/content/v1/57127c202fe13107b61...
Transcribe →Liverpool Oratorio Director's Note: War's Lament, Hope's Refrain
May 30, 2024Tap to summarizeThe Liverpool Blitz Memorial designed by Tom Murphy features a mother with arms outstretched beckoning her child to seek shelter from the bombs of WWII. Photo by Caroline Clegg. By Caroline CleggIn preparing to stage Liverpool Oratorio, I immediately recalled its haunting refrain “… and I will always love you. I’ll welcome you into this world …” sung by a mother to her baby amidst the trauma of war. It struck me how relevant this piece is today with the immediacy of the music and libretto. When I first heard Liverpool Oratorio in 1991, I remember how this refreshingly honest contemporary work exploded layers of classical hierarchical norms. It reached the top of the classical charts, and you would hear people singing short refrains from it or catch it on the radio. It spoke directly to people, becoming a cultural touchstone that echoed shared hopes and dreams. Now three decades on, the libretto resonates even more sharply, communicating that we all still cherish “a family life” (whatever shape that family takes) in a community that we are proud of, because whatever happens “… we must save the child.”Being from the north of England, I felt it was vital that this staging be embedded with the grit, authenticity, and humor of its birthplace. I visited Liverpool, just a few miles from my home, to listen to the music in its home setting. Sitting and listening to the piece through headphones in the open-air space of the bombed-out church of St. Luke’s (bombed in 1941), I was reminded quite viscerally of how voices of the past are ever-present in all our lives, whether as a direct result of war or as our worries and insecurities of a family crisis. The statue of two First World War soldiers, one British and one German, shaking hands outside the church, seemed to echo the oftused phrase that WWI was supposed to be “the war to end all wars.” The gravestones of the hundreds of child orphans lining the cemetery walls served as a heartfelt prompt to give voice to them and the voice - less orphans of today.The oratorio’s impassioned beginning looks back to Liverpool in 1942, amidst the horror of the Second World War (which Paul McCartney was born into), where death is ever-present. But war is never resigned to history, and in 2024 the mother’s words “the world you’re coming into is no easy place to enter; every day is haunted by the echoes of the past”—are a stark reminder of our present global challenges. Musically, the piece plunges you directly into the heartbeat of birth and death. Dramatically, I have echoed this and tried to portray life’s journey and the hope for a better future. To enrich the narrative’s authenticity, each ensemble member has a backstory of a real person from Liverpool. I have also introduced dancers to represent the inner voices of Shanty and Mary and personify “hope,” which rises phoenix-like from the wreckage of the bombed city. Through Shanty’s story, we see the post-war community rebuilding. We see societal shifts and nuances of male hierarchy, and we smile at the antics of the schoolboys and the awkwardness of being at a church dance with the grown-ups. We feel the shock and aloneness of a bereaved teenager and the stressful work-life balance of newlywed Baby Boomers of the 1960s. This gives way to the final peaceful understanding that it is in our own hands to change and “… be fair to each other.Designer Leslie Travers and I have worked together to realize settings that allow for both the epic depiction of war and the intimate reflections of daily life. We found poignant inspiration from the Liverpool Blitz Memorial, depicting a mother holding a baby and a boy with a plane on the spiral staircase of an air-raid shelter. Our set sits alongside the River Mersey, where the ebb and flow metaphorically parallel life’s journey, and we can share its universality here alongside the Ohio River. Sir Paul’s school motto is heard throughout, reminding us of our desire for peace in our global family today: “Non nobis solum, Sed Toti mundo, nati. Toti mundo nat.” “Not for ourselves, but for the whole world, were we born.” Perhaps the Liverpool Oratorio is a timeless testament to the power of music to move hearts and minds and effect change. Caroline Clegg is an international stage director, whose recent work includes Blaze of Glory for Welsh National Opera and next, Slave: A Question of Freedom for Feelgood Theatre. She lives in Manchester, UK, and rides a Triumph Bonneville.
Transcribe →La Traviata Director's Note: Don't Forget Me
May 30, 2024Tap to summarizeBy Trevore Ross“Non mi scordate.” Translation: “Don’t forget me.” These words sung by Violetta in the final act of La Traviata offer insight into her greatest fear—that her lifestyle on the fringes of society was unacceptable, making her life insignificant and unworthy of being remembered. Have you ever felt something similar?La Traviata has captivated audiences with its timeless themes of love, tragedy, and societal expectations. However, in many productions, including some I have been involved with, I often found a sense of unfulfillment and missed opportunities to delve into the deeper humanity of the characters. While these productions were musically brilliant and visually stunning, they often fell short in portraying the depth of character and the underlying tragedy that defines La Traviata. “Violetta’s poignant plea of “don’t forget me” transcends the opera stage and speaks to the universal yearning for recognition and remembrance. ” — Trevore Ross Driven by a desire to present this beloved piece from a fresh perspective, I set out to create a production that would resonate with contemporary audiences while honoring the essence of the original. My goal was twofold: make the characters and setting more relatable and infuse the production with relevance to our current social environment.To achieve this, I made several changes to La Traviata’s traditional staging. First, I transported the story from the 1840s to the 1920s, a period known as the “Roaring Twenties” in the U.S. and the “Années Folles” (or “Crazy Years”) in Paris, where our narrative unfolds. This era was characterized by a sense of freedom of expression, marked by cultural shifts like the rise of Art Deco, the emergence of jazz and cabaret culture, and the liberation of women’s fashion epitomized by Coco Chanel’s little black dress.By shifting the timeframe, I aimed to create a setting that modern audiences could more readily connect with, shedding the layers of petticoats and formalities of the 19th century for a world of indulgence, self-identification, and artistic revolution. This not only made the environment more relatable but also allowed for a reinterpretation of the characters’ roles within society.Central to my vision was the reversal of Violetta’s place among her peers. Instead of being viewed as an outcast of society, she is surrounded by a curated group of individuals, each in their own way marginalized or ostracized by societal norms. This ensemble of characters represents a microcosm of the larger societal struggles for recognition and acceptance.The relevance of this reinterpretation to our current society cannot be overstated. We live in a time when divisions and polarizations are rampant and individuals and communities clamor to be seen, heard, and recognized. Yet, amidst this struggle, we often forget the fundamental principles of humanity: empathy, compassion, and the acknowledgment of each person’s intrinsic worth.Violetta’s poignant plea of “Don’t forget me” in her final moments transcends the opera stage and speaks to the universal yearning for recognition and remembrance. It serves as a reminder that every individual, regardless of their background or beliefs, deserves to be treated with dignity and respect.Through this production, I hope to provoke introspection and dialogue, encouraging audiences to reflect on their own roles in shaping a more inclusive and compassionate society. Art has the power to inspire change, and it is my fervent belief that by engaging with timeless works like La Traviata through a contemporary lens, we can all strive to be and do better in our interactions with one another. Stage director Trevore Ross has called Cincinnati home for the past three years. Having spent time working across the US and Europe, this is his directing debut with Cincinnati Opera.
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