Podcast
Opera For Everyone
Hosted by Opera for Everyone · EN
Opera for Everyone is a radio show and podcast that makes opera understandable, accessible, and enjoyable for all. Pat Wright hosts the show, inviting guest co-hosts to participate in the mission she and Keely Herron developed after lively discussions of operas they had enjoyed seeing together. Music soars. Epiphanies abound. Hilarity ensues.
The show airs Sundays from 9.00 a.m. to 11.00 a.m. on 89.1 KHOL in Jackson, Wyoming.
Cover artwork by illustrator Rosie Brooks (www.rosiebrooks.com)
27episodes
Episodes
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Ep. 142 Alcina by Handel
4w ago01:58:09Summary readyA seemingly all-powerful sorceress rules over her own island domain. She enchants not only nature, but also men, who are helpless to resist her charms. And when she does tire of those besotted men, it’s nothing that a transfiguration from man to animal cannot solve. However, downfall is imminent when she truly falls in love with one of the ensnared men. It turns out that this man’s true love is a fearsome warrior woman, whose skills rival those of Charlemagne’s famed paladins. (Big trouble for Alcina!) This story, like Vivaldi’s Orlando Furioso (Ep. 130), is based on a 16th century epic that is so rich in dramatic detail and power that it has inspired countless works of art in myriad mediums. Alcina is one of the three (!) operas by Handel based on this source material. Join Pat and guest co-host Jeff Counts as we meet this enchanting woman and the characters who surround her. Jeff Counts is the general manager of the Grand Teton Music Festival and KHOL’s film critic.
SummaryEp. 141 Attila by Verdi
Apr 1201:59:36Summary readyKnown to history as “The Scourge of God,” Attila was a rampaging conqueror who famously turned aside from the city of Rome after a meeting with the Pope. In this version, Attila is also opposed by a vengeful slave, a morally flexible Roman general, and a wily and determined warrior woman. Historical? Not so much. But this stunning opera from early-career Verdi, Attila is a work that deserves to be heard and enjoyed, full of exquisite arias, duets, ensembles, choral numbers, and what may be opera’s most expeditious on-stage lead character death. Hosted by Pat with co-host Grant
SummaryEp. 140 Moby Dick by Jake Heggie
Mar 901:58:06Summary readyAll hands on deck! This episode of Opera for Everyone dives headlong into a leviathan of 21st-century opera: Jake Heggie’s Moby-Dick (2010). Adapted from Melville’s classic American novel, this seafaring drama is a gripping operatic meditation on obsession, authority, and the power of friendship. With Gene Scheer’s cinematic libretto and Heggie’s muscular score, the opera captures both the immensity of the sea and the intensity of life aboard the Pequod. Joining Pat on this voyage is guest Candice M. Kelsey, educator, poet, and Melville enthusiast, who brings a literary lens to the opera’s adaptation. Batten down the hatches and sail with us into operatic waters where the whale is white, the questions are vast, and the music is epic. For more on Candice Kelsey visit candicemkelseypoet.com
SummaryEp. 139 Le Prophète by Meyerbeer
Feb 1001:58:19Summary readyWhen an entrenched oligarchy and a cynical revolution go to war with one another, what happens to all the people in the middle? Some may be victimized, others silenced, and yet others swept up in the churn of events. In Giacomo Meyerbeer’s Le Prophète, Jean of Leiden finds himself assuming the mantle of prophet and messiah, setting up expectations for himself that he can never fulfil. This epic French Grand Opera, loosely based on a real historical figure who came to be known as “King of the New Jerusalem,” was a spectacular success. However, for many reasons, not least of them the jealousy and resentment from composer Richard Wagner, Meyerbeer is not well-known today. Nevertheless, his works offer many delights, as well as heart-rending drama. Join host Pat, along with guest co-host Gerald Malone for a close look at Meyerbeer’s Le Prophète. Gerald Malone’s website, TheRestIsOpera.com is brimming with commentary on opera productions that he has seen around the world, as well as “scuttlebutt” about opera from a suspiciously well-informed little dog.
SummaryEp. 138 Rienzi, The Last of the Tribunes, by Wagner
Jan 1202:04:21Summary readyRichard Wagner’s first truly successful opera, set in medieval Rome, sees a young nobleman in love with a young plebeian woman. While this might sound like it’s going to be an operatic love story, it’s quite a different thing entirely: Grand Opera, Wagner-style. Based on a controversial and visionary historical figure who became a footnote, but aspired to change the face of history, it has soaring music, but this opera is less concerned with romance than the fortunes of a leader trying to accumulate power in order to bring peace and equality to his people. Hosted by Pat, Kathleen, and Grant For more cultural and arts commentary by Kathleen Van De Wille, visit Constructive Criticism on Substack.
SummaryEp. 137 The Threepenny Opera by Weill and Brecht
Dec 1401:59:41Summary readyMac the Knife, terror of the London criminal underworld, is a character paradoxically best known to many as the subject of the upbeat, bubbly eponymous 1955, 1959, and 1960 hit single. However, his fictional roots go much deeper, to a nearly 300-year old opera called The Beggar’s Opera. From here, Mac’s trail led to 1928’s The Threepenny Opera, by Bertolt Brecht and Kurt Weill, that is the subject of today’s episode. Join Pat and guest Maria Coulter for a conversation about this opera, which is as atypical as it was popular. A classically trained soprano, Maria is able to provide special insights, having performed the role of Lucy Brown in 2022.
SummaryEp. 136 Ravel's L'Enfant et les sortilèges
Nov 1601:57:06Summary readyCan an opera, that most complex of art forms, take you back to childhood? Unlikely though it might seem, L’Enfant et les Sortilèges (“The Child and the Enchantments”) does just that through the talents of composer Maurice Ravel and writer Colette. This one-act opera, fantastical though it is, can transport you to all-too-real, seemingly lost memories. Over the course of the story, our nameless child protagonist wrestles with his powerlessness and power, responsibility and dependence, piteousness and pity. Join host Pat with Erica Miner, the mystery writer, lecturer and former Met Opera violinist, in celebration of the 150th anniversary of the birth of French composer Maurice Ravel on this episode of Opera for Everyone. For more on Erica Miner, visit ericaminer.com
SummaryEp. 135 The Rake's Progress
Oct 501:58:18Summary readyWhich is stronger: the temptations of a shadowy wish-granter, or the love of a virtuous woman? In The Rake’s Progress, Tom’s true love Anne seeks to save him from himself, seeking to unwind the schemes of the literal devil. Yet when the dust settles, it is hard to say who has triumphed… Tom is saved, but it is a messy and piteous sort of salvation. In the only full opera composed by Igor Stravinsky, powerful supernatural elements are key to the drama, but the characters–archetypal in many respects–become believable individuals given full life by Stravinsky’s shimmering, evocative, and powerful music. Hosted by Pat and Kathleen For more cultural and arts commentary by Kathleen Van De Wille, visit Constructive Criticism on Substack.
SummaryEp. 134 King Arthur by Henry Purcell
Sep 801:57:51Summary readyKing Arthur stands astride the intersection of history, myth, legend, and politics. In every age of the history of Britain, he is reinterpreted for new audiences and new purposes. When composer Henry Purcell and poet-librettist John Dryden set out to write their opera about Arthur, they did so following a century in which England had seen monarchs rise, fall, be beheaded, exiled, returned in triumph, and driven out in disgrace. King Arthur takes place not in Camelot, but in a world of clashing cultures and ideals. Arthur finds his Britons beset by Saxon invaders, but after his victory, he is able to lead as both peoples transition from fighting one another, to become a stronger people together. Join us for a close look at this fascinating work or art, and enjoy (in English, of course!) Dryden’s poetry and Purcell’s rich and tuneful music. Hosted by Pat with guest co-host Gerald Malone. Gerald Malone’s website, TheRestIsOpera.com is brimming with commentary on opera productions that he has seen around the world, and “scuttlebutt” about opera from a suspiciously well-informed little dog. Gerald Malone is also the Opera Critic of ReactionLife, a UK-based online current affairs and cultural publication.
SummaryEp. 133 Semele by Handel
Aug 1002:01:42Summary readyIt might at first sound like it would be nice to be the lover of the king of the Olympian gods, attended by divine spirits, and living in a luxurious palace among the clouds. But this happily-ever-after turns sour after Princess Semele asks Jupiter for the gift of immortality. After a bit of intrigue amongst the gods–not least among them Jupiter’s resourceful and ruthless wife Juno–disaster strikes the princess Semele and her dreams are reduced to ashes. An “English opera” from the later career of Baroque master, George Frideric Handel, Semele teems with engaging arias as well as sumptuous choral pieces. Inspired by a tale told by Ovid, Handel and his librettist, William Congreve crafted a work of art that beguiles and entertains supremely. Hosted by Pat and Kathleen For more cultural and arts commentary by Kathleen Van De Wille, visit Constructive Criticism on Substack.
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