Registration Open for OPC Opera Academy

Registration is open for Opera Project Columbus’ first session of The OPC Opera Academy.

The Saturday, April 30 and Sunday, May 1, session is designed for College and High School aged students (and exceptional Middle School students) who are interested in learning more about playing in a pit orchestra as well as how to play in an opera orchestra.

There will be a performance the final day for guests of the attendees as well as the opportunity to audition for a seat in our next production.

If you know of a young aspiring musician, please share this opportunity with them.

What A Show!

Thank you to all who stepped back in time to the 1940’s with Opera Project Columbus as we presented,

“Great American Opera: Menotti & Gershwin”

What a spectacular show by our amazing cast and talented team at OPC!

The Cast of "Great American Opera: Menotti & Gershwin"

ALEXIS DAVIS HAZELL | Miss Todd 

Alexis Davis-Hazell performs a diversity of repertoire as a concert soloist and performer of opera’s dramatic mezzo-soprano roles and relishes the opportunity to sing modern and contemporary works. While continuing to develop an intimacy with the heroines and anti-heroines of Verdi, Bizet, and Wagner, her performances of Mme. de Croissy of Poulenc’s Dialogue of the Carmelites, Dritte Dame of Mozart’s Die Zauberflöte, Frugola of Puccini’s Il Tabarro, and the High Priestess of Verdi’s Aida have earned accolades for the size and quality of her instrument, and the dramatic intensity she brings to supporting char acters. Alexis originated the role of Rachel in Joseph Landers’ new opera Let Us Now Praise Famous Men, premiered by the Tuscaloosa Symphony, and broadcast on Alabama public television in September 2020. 

Alexis’ other career highlights include more than one hundred performances of numerous productions of The Gershwins’ masterwork Porgy and Bess, singing the roles of Maria, Lily, and Strawberry Woman as a principal and ensemble swing in opera houses throughout North America, Germany, Russia, Poland, Greece, Latvia, Switzerland, and North America. These performances include critically acclaimed productions at the Dresden SemperOper,  Hamburgische Staatsoper, the Moscow Philharmonic, the Polish National Opera of Warsaw, and the Palacio de Bellas Artes in Mexico City. Along with a celebrated production of Porgy and Bess at San Francisco Opera, she also performed in their seminal production of Show Boat—both directed by Francesca Zambello, conducted by John de Main, marketed internationally on DVD and shown nationally on PBS. 

The Assistant Professor of Voice and Diction at the University of Alabama and Creative Director of the innovative production company Jazzoperetry  (Jazz-Op-ruh-tree), Inc. founded by her husband, Basso Cantante and com poser/arranger Earl Hazell, Alexis continues to be a featured guest artist, masterclass clinician, lecturer and session presenter throughout the U.S., including national conferences of voice, opera and arts research alliances.

She will return to Cincinnati Opera in the summer of 2022 for their production of Verdi’s Aida.

MERYL DOMINGUEZ | Letitia 

Meryl Dominguez, a Cuban American soprano praised for her “intensity and warm tone” (Bachtrack), is a graduate of the Academy of Vocal Arts in Philadelphia. She has performed roles such as Violetta (La Traviata), Juliette (Roméo et Juliette), Donna Anna (Don Giovanni), Lucia Ashton (Lucia di Lammermoor), Rosalinde (Die Fledermaus) and most recently made her international debut as the title character in Norma with Musica Viva Hong Kong. A Double Degree graduate of Oberlin, and an apprentice artist at Santa Fe Opera, Meryl shines on the competition sphere as a recent finalist with Houston Grand Opera’s prestigious Eleanor McCollum Competition, a National Semi-finalist in the Metropolitan Opera National Council Auditions, and First prize winner at Vero Beach Opera’s inaugural Rising Stars competition. 

Recital work includes work with LyricFest on a premiere of John Musto’s set Be Music, Night, and has featured Lili Boulanger’s Clairières dans le ciel, Debussy’s Fêtes galantes II, R. Strauss’ Brentano Lieder, Britten folk songs, Poulenc’s Fiançailles pour rire, Rachmaninov op.38, Wolf’s Spanischeslieder buch and selections from Musto’s Penelope (2005).

JOHN GLANN | Bob 

Baritone John Glann has performed nearly forty leading roles in opera, oratorio, and musical theatre. Operatic roles include Mozart’s Figaro and Count Almaviva, Belcore, Enrico in Lucia di Lammermoor, Escamillo, and Ford in Falstaff. Favorite musical theatre roles include Billy Bigelow in Carousel, Frank Butler in Annie Get Your Gun, Fred Graham/Petruccio in Kiss Me, Kate, Emile de Becque in South Pacific, Edward Rutledge in 1776, Carl-Magnus in A Little Night Music, and Aldolpho in The Drowsy Chaperone.

An avid recitalist, John recently sang the world premiere of Patrick Michael Wickham’s Songs of Death and Taxes with the Lecoq Ensemble in Paris, and is a frequent collaborator at the Ann Arbor Art Fair Song Fest. A native of Huron, Ohio, John now maintains a private voice studio in New York City. 

MEGAN SANTORA | Miss Pinkerton 

Megan Santora is a 2016 Artist Diploma in Opera graduate from the University of Cincinnati College Conservatory of Music. She completed a Masters in Voice Performance at CCM, as well as a Masters in Opera Theatre and Bachelor of Music in Voice Performance at the Oberlin Conservatory. Recently, Ms. Santora covered the role of Nella in Gianni Schicchi as a member of the Manetti Shrem Opera Program with Festival Napa Valley. She also returns to Opera Project Columbus as Lisette in La Rondine and covers the role of Norina in Don Pasquale with Opera MODO this year. Recent engagements include the role of Adele in Die Fledermaus with Opera Project Columbus, Anna Gomez in The Consul with Opera MODO and the role of Lauretta in Gianni Schicchi with Opera Project Columbus. In 2016 she sang the roles of Vixen Sharp Ears in The Cunning Little Vixen at CCM and Serpina in La Serva Padrona with the Cincinnati Chamber Opera. At CCM she sang the roles of Gretel in Hansel and Gretel, Giannetta in L’elisir d’amore, Princesse  Laoula in L’etoile, and Thibault in Don Carlos; was the Soprano Soloist in Stravinsky’s Les Noces; and was featured in a Kurt Weill Cabaret. In 2013 she was the Soprano Studio Artist with Opera Saratoga and a Young Artist with Opera Columbus. She has participated in Cincinnati Opera’s Opera Fusion:  Champion, Meet John Doe

EARL HAZELL | Porgy 

Earl Hazell, Basso Cantante and native New Yorker is a performing and creative artist developing a multi-faceted career through the embrace of opera, literature and modern jazz on the world stage. Earl has performed with the New York Philharmonic numerous times, including their landmark performances of the Britten War Requiem under Kurt Masur in the Cathedral of St. John the Divine; the Beethoven Ninth Symphony under Zubin Mehta in the United Nations, and the nationally televised Beethoven Choral Fantasy with pianist Alfred Brendel in the One Hundredth Anniversary of Carnegie Hall, conducted by James Levine of the Metropolitan Opera. Earl has also  performed with San Francisco Opera, Lyric Opera of Chicago, Cincinnati  Opera, Tulsa Opera, Arizona Opera, Utah Festival Opera & Musical Theatre,  Townsend Opera of California, and Phoenix Opera, performing and covering  a variety of roles that include Colline in Puccini’s La Boheme; Crown in the  Gershwins’ Porgy and Bess; Zuniga in Bizet’s Carmen; Ferrando in Verdi’s Il  Trovatore; Joe in Jerome Kern’s Show Boat; Booker T. Washington in Flaherty & Ahrens’ Ragtime; Sarastro and The Speaker in Mozart’s Die Zauber flöte; Talpa in Puccini’s Il Tabarro; and both Ramfis and Amonasro in Verdi’s  Aida

HANNAH MARIE BULLOCK | Bess 

Hailing from Columbus, Ohio, Hannah Marie Bullock is a new and emerging artist making her footprint in the opera world. Recent engagements include Contessa Almaviva (Le Nozze di Figaro) at the International Summer Opera Festival of Morelia and I, Too, Sing America, a collaboration with Opera Project Columbus. Ms. Bullock also recently had the privilege of performing as the soprano soloist in Opera Columbus’ concert series The Voice of Freedom:  Civil Rights. Ms. Bullock is a graduate of Capital University with Bachelor of Music in Music Technology and of Ohio University with a Master of Music in Vocal Performance. Some of her favorite collegiate roles include Rosalinde in Die Fledermaus (Ohio University Opera Theater, “German Opera Scenes”) and First Lady in Die Zauberflöte (Ohio University Opera Theater). In addition to performing, Ms. Bullock serves as the Director of Operations for Graves Piano Company here in Columbus. She thoroughly enjoys working with the Columbus community to promote local music and artists. 

JERMAINE SMITH | Sportin’ Life 

The tenor is closely associated with the role of Sportin’ Life, in which he recently made his debut at Atlanta Opera; Metropolitan Opera Artist Contract; Sydney Opera House; Teatro San Carlo in Napoli, Italy; Seattle Opera; and Tanglewood Music Festival with the Boston Symphony Orchestra. Hollywood Bowl’s premiere performance of Porgy and Bess in concert, Lyric Opera of Chicago’s production of Porgy and Bess as well as in Cape Town Opera’s guest engagement at the newly opened opera house in Oslo, Norway a couple of seasons ago. He has also performed the role in Japan, Germany, Sweden, Austria, The Netherlands, Italy, Spain, Sicily, The Grand Canary Islands, and stateside at Union Ave Opera, Opera Pacific, and in Francesca Zambello’s productions at both Washington National Opera and Los Angeles Opera. Most recently he has brought his portrayal to Paris’ Opera-Comique, the Theatre de Caen, the Granada Festival, the Opera de Luxembourg, and the Santa Fe Symphony. His other operatic repertoire includes the title role in Joshua’s Boots (world premiere at Opera Theatre of Saint Louis, revival at Kansas City Lyric Opera), Henry Davis in Street Scene and Zodzetrick in Treemonisha (both with Opera Theatre of Saint Louis). He has made numerous appearances with the St. Louis Symphony. Smith is an alumnus of the New England Conservatory of Music and University of Missouri–St. Louis. He will be performing at the Virginia Arts Festival this spring and with the Des Moines Metro Opera in the summer. 

RON BRYANT | Radio Announcer

Ronald N. Bryant has been a fixture in Columbus’ print, radio, and television media since he arrived in Central Ohio in 1984. He has over 49 years of professional expertise in Radio and Television as a Music and Program Director, News and Community Affairs Director and Media Consultant. Ron has operated as an Ohio News Correspondent for The American Urban Radio Network and SBN News. He has developed and produced special first-run TV programming including the Telly Award winning “Trailblazers-African Americans Making a Difference,” and “Conversations with Ron Bryant” that aired on Bounce 23 TV Columbus. Ron has been Deputy Communications Director for the Ohio Democratic Party and Minority Media Coordinator for the 2008 Obama for Ohio Presidential Campaign. As a much sought-after Voice Over Artist, he’s provided live and recorded voice for The United Way of Central Ohio, the United Negro College Fund, Ohio Humanities, The Ohio Rosa Parks Celebration & Community Leaders Forum, the Ohio Democratic Party and the Congressional Black Caucus. Previously, the White House has tapped Ron as the “Live Voice Of God” for several Central Ohio events for the Obama Administration working with their advance team. 

KATHERINE DOBBS | Miss Todd (cover)

From Grafton, Wisconsin, mezzo-soprano Katherine Dobbs is an undergraduate senior vocal performance major with two minors in German Studies and Italian Cultural Studies at DePauw University in Greencastle, Indiana. She currently studies with Dr. Thomas King and works with coach/accompanist Dr. Amanda Hopson and has also studied with Dr. Kerry Jennings and Professor Caroline Smith during her undergraduate tenure. Katherine has performed an array of wonderful roles while at DePauw, including Orfeo in last weekend’s production of Orfeo ed Euridice, Miss Todd in a virtual production of The Old Maid and the Thief, Die Knusperhexe in Hänsel und Gretel, Miss Shingle in A Gentleman’s Guide to Love and Murder, and Madame de la  Haltière in Cendrillon. She looks forward to her third summer at The Institute for Young Dramatic Voices with Dolora Zajick and attending graduate school as a next step on her artistic journey. She is thrilled to be revisiting the role of Miss Todd as a cover in the Opera Project Columbus’s production of The Old Maid and the Thief

Thank you Peter Tonguette and The Columbus Dispatch for this fantastic article!

Far more unique is to blend two distinct works into a cohesive whole.

“I just love ... how they’re interspersing ‘Old Maid and the Thief’ with selections of ‘Porgy.’ It has this way of bringing this cultural context of just how much brilliance and amazing composition and artistry was coming out of the ’30s, said Hazell, 54, of Tuscaloosa, Alabama.

“In this country, opera has been presented as an elitist art form,” Smith said. “I think that in itself limits or diminishes the potential for it to reach a broad audience. That is not the way opera was designed. In Italy, everybody sings.”

-Peter Tonguette

Please read the entire article HERE!

A note from our Stage Director, Audrey Chait, about "Great American Opera: Menotti & Gershwin"

In the 1940s, the “radio play” was a leading popular entertainment, until television stole its thunder in the 1950s. The radio play, an art form in which a story is experienced through sound alone, is a perfect match for opera, a medium in which we already suspend our disbelief in many ways. 

We invite you into the imagined W-Opera Project Columbus (WOPC) station, in a slightly revisionist version of the 1940s. A group of singers gather to perform the new works of the time for the opera lovers of Columbus. We are so lucky to be joined by local radio legend Ron Bryant in the role of the announcer. Though The Old Maid and the Thief and Porgy and Bess seem of two different worlds, they premiered only four years apart in the 1930s. We chose to put them together because both pieces moved the landscape of classical music forward. 

Porgy and Bess premiered in 1935, not in an opera house, but on Broadway, with a cast of classically trained African-American singers. This landmark piece has evolved throughout the 20th century: it was made into a movie, toured to La Scala, and was embraced by American opera companies later in the 20th century. The leading roles have been portrayed by iconic African American singers, from Leontyne Price as Bess and Cab Calloway as Sportin’ Life in the 1950s, to Angel Blue and Eric Owens in the current Metropolitan Opera production. 

The young Italian-American composer Gian Carlo Menotti also had a gift for innovating the art form. He was approached by NBC to write an opera specifically for radio, a project that became The Old Maid and the Thief in 1939. Later, he would go on to also write the first opera commissioned for TV, Amahl and the Night Visitors

Today, these works are well known, and even canonical, but they were revolutionary in the early 20th century. I invite you to imagine yourselves back into the 1940s, hearing this music with fresh ears. I encourage you also to look forward - what new operas of today have that special magic that endures? I can think of no better gift to the art form than to seek out these works and help them succeed. 

Opera Academy hosts session for young orchestra musicians

Opera Project Columbus is hosting The OPC Opera Academy. This Saturday, April 30 and Sunday, May 1, session is designed for College and High School aged students (and exceptional Middle School students) who are interested in learning more about playing in a pit orchestra as well as how to play in an opera orchestra.

Stay tuned for more OPC Opera Academy sessions to come!

OPC is Excited to Present "Great American Opera: Menotti & Gershwin"

OPC announces its early-Spring performances of Gian Carlo Menotti’s “The Old Maid and the Thief” with excerpts from George Gershwin’s masterful creation, “Porgy and Bess”.

Menotti’s opera buffo tells of Bob, a happy-go-lucky hobo, who, through no fault of his own, gets swept up in the machinations of his landlady and her maid. Gossip and a criminal on the loose make for some hilarious misunderstandings with a pointed philosophical conclusion.

“The Old Maid and the Thief” was originally conceived and presented as an opera for live radio. Our production will feature a 1940s vintage radio studio with folks singing into their microphones, the live radio audience being our wonderful theater audience!

The cast includes John Glann as Bob,  Alexis Davis Hazell as Miss Todd, Meryl Dominguez as Laetitia, and Megan Santora as Miss Pinkerton.

Gershwin’s great singular opera, “Porgy and Bess” is represented by some of its most famous arias and duets.

The cast includes Hannah Marie Bullock as Bess, Earl Hazell as Porgy, and Jermaine Smith as Sportin’ Life.

Local Radioman, Ron Bryant, will be joining the stellar cast as the radio announcer.

Audrey Chait, our guest stage director, blends both stories and casts together in a delightfully funny production: Two different radio broadcasts are scheduled mistakenly on the same evening in the same studio. The host and producer that evening realizes his only choice is to allow BOTH performances to occur together.

Performances are at the Lincoln Theater, Friday, March 11th at 7:30pm, and Sunday, March 13th at 3:00pm. 

2/22/2022 - Give $222 + Get 2 Tickets!

Donate $222 OR MORE to Opera Project Columbus by midnight on the upcoming day of 2’s!

Twosday, 2/22/2022

As a Thank you, you will receive 2 tickets to Opera Project Presents: Great American Opera, Menotti & Gershwin. Featuring "The Old Maid and the Thief" and familiar pieces from "Porgy & Bess"

March 11 &13 at The Lincoln Theatre.

DONATE HERE!

*Offer ends 2/22/2022 at midnight EST

*If unable to attend this performance, please let us know and we can modify your tickets for another upcoming show.

Get your tickets today for Great American Opera! March 11 & 13

Tickets are now available for Opera Project Columbus Presents, Great American Opera, Menotti & Gershwin.

March 11, 7:30 P.M. & March 13, 3:00 P.M.

The Lincoln Theatre

Transport yourself to the days of old radio shows as we share the music of Menotti & Gershwin with familiar sounds from "The Old Maid and the Thief" and "Porgy and Bess".

You can purchase your tickets here->

https://my.cbusarts.com/3335

It’s Showtime!

What an AMAZING feeling to be onstage at The Lincoln Theatre this week as we rehearse with our orchestra and amazing singers! We could not be more excited to welcome YOU back to the theatre this weekend for a LIVE performance!

Meet Our Cast:

Lucas Levy

Described by Opera News as having “dominated the scene vocally,” tenor Lucas Levy brings “operatic power” (Tampa Bay Times) to his portrayals, is “a joy to watch” (Broadway World), and was praised by The Wall Street Journal for being “remarkably loud."

His 2021-2022 season begins with debuts at Berkshire Festival Opera, Opera Company of Middlebury, and Opera Project Columbus. The 2019-2020 season saw Mr. Levy in an immersive production of Rigoletto at infamous New York City nightclub The Box. The 2018-2019 season featured his return to St. Petersburg Opera as Rinuccio in Gianni Schicchi, and to Opera Maine for their 25th anniversary season as Monostatos in Die Zauberflöte, where Opera News noted his “vocally forward and strong” performance. He was also seen in performances of Haydn’s Creation, Schubert’s Mass in G major, and Mozart’s Requiem. Recent performance highlights include Falstaff with Opera Omaha, LaTraviata and Les Contes d’Hoffmann with St. Petersburg Opera, and Otello with LoftOpera.

Jason Budd

Hailed as a “buffo with a legitimate voice,” Jason Budd has garnered a reputation for being a consummate singer-actor. Having received accolades for his performances across the United States and Europe, Jason recently made his South American debut with the title role in Verdi's Falstaff in São Paulo, Brazil. He has also had much success in vocal competitions over the years including wins at the Opera Columbus Competition, the Heinz Rehfuss competition with Orlando Opera, the Mary Jacobs Smith Singer of the Year competition with Shreveport Opera, and the Meistersinger Competition in Graz, Austria, which was broadcast on Austrian television.

Recent engagements include performances with the Spoleto Festival in Charleston, SC, Boston Midsummer Opera, Toledo Opera, Fremont Opera in California, Opera Project Columbus, and Cleveland Opera Theater.

Robert Kerr

Known for his stage savvy, Robert Kerr’s foundation in opera began in musical theater. Anthony Tommasini of the New York Times wrote of his Falstaff: “He made words matter and conveyed the self-delusion of this likable laughingstock…”

Kerr, a hearty baritone, was recently heard as Germont with the Philharmonia Orchestra of New York at Lincoln Center; and sang the King in Aida with Opera Columbus. He has been engaged with other recent solo engagements with the Hudson Valley Philharmonic, the Ohio Song Project and Denison University. No stranger to Central Ohio Stages, Kerr returns to the Opera Project Columbus stage after many previous engagements, notably as the title roles in Rigoletto and Gianni Schicchi.

Victor Cardamone

Victor Cardamone has garnered much attention and critical acclaim over the last few years, and he continues to do so. Slowly, but surely, he is making his way into a major career in opera.

Victor graduated from Youngstown State University with his Bachelor of Music in Music Education degree, receiving a double major in applied voice and French horn. He took additional coursework at Ball State University, where he served as a graduate teaching assistant in the voice department, before officially transferring to the University of Cincinnati, College-Conservatory of Music to earn his Master of Music in Vocal Performance degree. He is currently pursuing the Artist Diploma in Opera Studies at CCM.

Carolyn Redman

Carolyn Redman, mezzo-soprano, is originally from Bellevue, Ohio and received a MM and DMA in vocal performance from the Ohio State University.

She has performed operatic roles as well as musical theater roles with various professional companies including Des Moines Metro Opera, Opera/Columbus, Opera Project Columbus, Columbus Light Opera, Cincinnati Opera, Weathervane Playhouse, and Lyric Opera Cleveland. She was selected as an apprentice artist with both Des Moines Metro Opera and Cincinnati Opera Young Artists programs and was also chosen to perform in masterclasses and performances at the Instituto Superior de Arte of the Teatro Colon in Buenos Aires, Argentina.

Redman has been a winner or finalist in four competitions, including a first-place finish in the Opera/Columbus vocal competition. Recent roles include La Badessa in Suor Angelica, Berta in Il Barbiere di Siviglia, Miss Todd in The Old Maid and the Thief, Zita in Gianni Schicchi, Gertrude in Roméo et Juliette, Martha/Ayah in The Secret Garden, Golde in Fiddler on the Roof, Jo in Mark Adamo’s Little Women, Second Lady in The Magic Flute, and Countess Charlotte Malcolm in A Little Night Music. She has also been a featured soloist in oratorios and other concert works with groups such as Cantari Singers, Denison University, Columbus Bach Ensemble, Marion Civic Chorus, Master Singers, Inc. Chorale, New Albany Symphony, Saint Joseph Cathedral, Westerville Symphony, and the American Institute of Musical Studies in Graz, Austria.

In addition to performing, she serves on the voice faculties of Kenyon College and Denison University.

Caroline Bergan

Caroline Bergan (soprano): Born in Florida of a French mother and Norwegian father, she has had the great fortune of being raised with three native languages.

Ms. Bergan made her debut with the Cleveland Orchestra in their centennial season opening production of The Cunning Little Vixen. Ms. Bergan’s international credits include Suor Genovieffa (Suor Angelica) in Arezzo, Susanna (Le nozze di Figaro) and Miss Jessel (The Turn of the Screw) for the Music Academy International festival in Mezzano and Siena. She performed for the CIM Opera Theater as Amelia (Amelia al ballo), Susanna (Le nozze di Figaro), Morgana (Alcina), Belinda (Dido and Aeneas) and Pamina (Die Zauberflöte). Ms. Bergan sang Drusilla (L’Incoronazione di Poppea) with the Young Artist program at Pensacola Opera, Florida. She recently performed the role of Countess (Le nozze di Figaro) with The Ohio State University Lyric Opera Theatre. Ms. Bergan has sung in masterclasses for Renée Fleming, Renata Scotto, Julia Faulkner, Warren Jones, and Bo Skovhus. Ms. Bergan is a past winner of the Mirabell Schloss Competition in Salzburg, Austria and is a recipient of the Anna Sosenko Artist Trust Fund Award. She has performed Poulenc's Gloria with the Firelands Symphony Orchestra and Berlioz selections from Beatrice et Benedict with the Duke Orchestra.

Jennifer Forni

Praised for her "warm, gleaming lyric soprano" voice (Washington Post), American soprano Jennifer Forni has distinguished herself as a dynamic singer possessing the raw yet luxurious power of a classic full lyric soprano. Always “attentive to the subtler points of interpretive expression” (The Baltimore Sun), Ms. Forni, while possessing a “fuller lyric sound” (Opera News) has maintained an "exquisite pianissimo" (Springfield News-Leader) above the staff. Oregon Arts watch commented, "she has the best messa di voce... I've heard in a long time!".

Recently, Forni stepped into the iconic role of Turandot in Puccini’s final work Turnadot with the Springfield Regional Opera. She has performed such roles as Desdemona in Verdi’s Otello with Springfield Regional Opera as well as La Contessa in Mozart’s Le Nozze di Figaro. She was featured as Tatyana with the Portland Opera in their brand new production of Eugene Onegin. Forni can been seen in the Metropolitan Opera’s HD Broadcast performance of Wagner’s Parsifal under the award-winning direction of Francois Gerrard.

Hannah Marie Bullock

Hailing from Columbus, Ohio, Soprano, Hannah Marie Bullock is a new and emerging artist making her footprint in the opera world. Recent engagements include covering Contessa Almaviva (Le Nozze di Figaro) at the International Summer Opera Festival of Morelia and I Too, Sing America, a collaboration with Opera Project Columbus.

Featuring Art by:

Reagan McCarthy

We are thrilled to have had the artwork for “To See Again The Stars” painted by Dublin High School Senior, Reagan McCarthy.

Art is Reagan’s passion and she has been creating since she was old enough to hold a crayon. She takes extracurricular classes at Columbus College of Art and Design and College Credit Plus classes at Columbus State Community College. She is never far from her sketchbook! In addition to creating art, Reagan participates as a squad leader in the Color Guard, is a Delegate leader on the Girl Scouts of Ohio’s Heartland’s Advisory Council, she earned her First Degree Black Belt in Taekwondo and is a member of the German club. Reagan also works as a camp counselor and as a lifeguard. We love being able to feature the work of young artists in the Greater Columbus area!

Important Information…

Please allow yourself adequate time as guests will be asked to show I.D. and vaccination status or negative COVID test results. More information below.

  • We will be following the COVID safety protocols as stated by CAPA. Guests will need to either show proof of vaccination status or a negative COVID test result along with their I.D.

  • All guests will be required to wear masks properly regardless of vaccination status.

  • If you are not feeling well, we ask that you please stay home.

We appreciate your cooperation and thank you for your support and understanding.

"I, Too, Sing America" Wins The Greater Columbus Arts Council's Art Makes Excellence Award!

We are excited to share that we were announced as the winner for The Greater Columbus Arts Council’s, Columbus Makes Art Excellence Award, Organizations with budgets under $1 million. We are honored and touched by the support and community response for our program, “I, Too, Sing America”.

Congratulations to all the winners and nominees!

Thank you Greater Columbus Arts Council; Columbus Mayor, Andrew Ginther; the City of Columbus, and Franklin County for your continued support of the arts in Cbus!

We are so grateful to all of the talent associated with this project, Ed Bak, as the pianist and the amazing soprano’s: Hannah Marie Bullock. Crystal Sellers Battle, and Dione Parker Bennett; narration by Dr. Toni Smith, and contributions by Lorri Reid McCall, and students Zion Mosley-Brinkley and Naomi Baker.

To see these works executed so beautifully was a treat and the educational value that this program carries is invaluable to educators to keep these important moments in our history relevant.

Many thanks to our friends at Spyroll Studios for the production of this powerful and important program.

#artmakescbus

Opera Project Columbus Returns with a Weekend of Sentiment, Drama, Prayers, and Joy

Friday evening, the 19 th of November, in the Lincoln Theatre, OPC will emerge

from its COVID-driven chrysalis, flutter its multi-spectral wings, and create an

unforgettable evening of magical music-making.

Our beloved Maestro, Alessandro Siciliani, with his hand-picked orchestra of

musicians from Columbus and regional Ohio, will be joined by a rich stable of

vibrant operatic talent including: Caroline Bergan, soprano; Jennifer Forni,

soprano; Carolyn Redman, mezzo-soprano; Victor Cardamone, tenor; Matthew

White, tenor; Robert Kerr, baritone; Jason Budd, bass-baritone; and, Hannah

Bullock, narrator.

The title, “To See Again the Stars”, refers to the 34 th canto of Dante’s “La Divina

Commedia”, in which Dante emerges from Hell, having seen Lucifer, the “Light

Bringer”. Our program commemorates the 20 th anniversary of 9/11 and the

pandemic crisis, but with faith in humans and our creativity, moves forth towards

a new awakening and proverbial dance of joy into our future – like Dante,

emerging from Darkness into the Light.

Maestro Siciliani has constructed a lavish visually and aurally stunning program.

The entire first half features opera scenes of Giuseppe Verdi, beginning

appropriately and reverently with the “Salce” and “Ave Maria” from Otello (Act 4).

There follows en temps voulu the powerful overture to La Forza del Destino.

Reflecting on the intrigue and tremors in our political world, Verdi demonstrates

these ever-constant realities – not to diminish their significance, but to remind us,

perhaps we’ve experienced and withstood many such moments in our human

history – in chosen excerpts from La Forza del Destino and Un Ballo in

Maschera.

The second half looks comedically at ourselves – humor being one of the

greatest medicaments for suffering – with Act 2, Scene 1 of Falstaff, that loveable

jocular hero. There follow moments of agonizingly beautiful memorable arias by

Rossini, Donizetti, and Lehar with a hilarious deliciously and devilishly difficult

duet, “Cheti, Cheti immantinente” from Donizetti’s Don Pasquale.

Please come and envelop yourselves in the magical wings of this new butterfly,

as OPC emerges into a new vivid season of miracles for 2021-2022!

“To See Again the Stars” will be presented at the Lincoln Theatre, 19 November

at 7:30 pm and 21 November at 3:00 pm. For tickets, CLICK HERE.

Thank you To The Greater Columbus Arts Council

Opera Project Columbus is honored to have been awarded an Annual Seasons grant from the Greater Columbus Arts Council.  We are grateful for the Arts Council’s continued support of our programming and support and advancement of the arts and the cultural fabric of Columbus.  A special thank you as well as to the city of Columbus and Franklin County. 

The Project Support grant provides funding for a broad range of arts and cultural projects, events and programs and we are thrilled to be among this cycle’s recipients.

#artmakescbus

#gcacgrants

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Audition Video Scholarships

Opera Project Columbus is pleased to announce that we will be awarding two Audition Video Scholarships for Black singers looking at taking the next step in their career. If you are a singer committed to pursuing a career in classical vocal artistry, apply today! Applications are limited to the first 25 applicants.

Petite Messe Solennelle

 
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Opera Project Columbus will be welcoming a live, limited audience to The Lincoln Theatre, Saturday, March 20, at 3 PM for a performance and live taping of Italian composer, Gioachino Rossini’s, sacred work, ‘Petite Messe Solonnelle’ conducted by Alessandro Siciliani.

Joining us on stage is Caroline Bergen, soprano; Victor Cardamone, tenor; Robert Kerr, baritone; Lauren McAllister, mezzo-soprano; as well as a chorus of 15; Dr. Marc Heeg, chorus master and pianist; Ed Bak, pianist; Mark Rubinstein, accordion.

Pianos for the program have been donated by Solich Piano.

Tickets are very limited and are on a first come first serve basis. All COVID restrictions set by CAPA will be followed. For tickets, please email operaprojectcolumbus@gmail.com

Please provide your email address, name, and contact information, and how many tickets you would like to reserve.

Following this live taping, the program will be available for churches to share with their congregations for their Easter celebrations as well as for all to enjoy this beautiful piece of music from the comfort of their home.

Also, check out OPC featured on the Columbus Dispatch

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Announcing VIVA Academy February 2021 Session

VIVA

Virtual Intensive Vocal Arts Academy
Opera Project Columbus

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“A PEEK Behind The Curtain—What REALLY Goes On”
A Course For Opera Lovers Everywhere

Wednesdays in February
(February 3, 10, 17, 24)
7-8 pm EDT

$50 donation requested

Feb 3: A Tour of Opera in Italy | Fred Plotkin

Feb 10: From Whetstone High School to La Scala, My Life as a Leading International Singer | Eugenie Grunewald

Feb 17: My 50 Years of Dressing Opera Stars at the Met | Charles Caine

Feb 24: Ask the Maestro, Q and A with Maestro Alessandro Siciliani and Ed Bak

Session Details

A Tour of Opera in Italy | Fred Plotkin

February 3

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Fred Plotkin leads a varied career in which he is a universally recognized expert in his fields of specialization. Whether it is opera, classical music, gastronomy, wine, or anything related to Italy, Plotkin is much sought-after for his knowledge and the joy and passion with which he shares it. He is the author of nine books, and has written for dozens of leading publications, including The New York Times, Los Angeles Times, The Atlantic, Opera News, Gourmet, Time, Newsweek, GQ, Travel & Leisure, Food & Wine, Bon Appetit, Financial Times, The Daily Telegraph, Gastronomica, and magazines in Britain, Germany, Italy, and elsewhere.

He has worked in opera and classical music for more than 40 years, having begun as a teenager. This included production work at the opera companies of Bologna and Verona while a student, followed by a two-year stint as a stage director at La Scala, Milan, working as an assistant to Giorgio Strehler. [This work was partially supported by a Fulbright Scholarship.] Then he was Performance Manager of the Metropolitan Opera for 5 years, responsible for running all theater operations at every performance. Later he worked as a consultant for the National Endowment of the Arts, which brought him to many opera companies, including those of Chicago, San Diego, Long Beach, Phoenix, and Minneapolis to analyze and streamline operations and improve artistic product. In 2019 Vanity Fair described him as a “foremost opera expert.”

In 2012, the Robb Report wrote that Fred Plotkin "knows more about opera than probably any other American." In 2014, Fortune magazine described him as "one of the world’s most renowned opera experts."

Plotkin teaches and lectures on operatic topics for the Metropolitan Opera, Los Angeles, Cincinnati, Dallas, Boston, and others, and writes program notes for the Met, Glyndebourne, Chicago, Seattle, Omaha, Cincinnati and Los Angeles. He lectures regularly on opera, classical music, history, culture, cuisine and Italian topics at the Smithsonian Institution (more than 150 talks), and has also spoken at the Juilliard School, Columbia University, NYU, Caltech, Brown, the University of Minnesota, at the Salzburg Festival and all over Italy. He was scholar in residence for the 2012 Verbier music festival. He has presented lectures at Carnegie Hall and given numerous pre-concert talks for the New York Philharmonic.

Fred Plotkin has been a popular guest on the intermission features on the Metropolitan Opera International Radio Network, and many programs on National Public Radio, Sirius Satellite Radio, the BBC, and RAI. He is featured in documentaries about Maria Callas and Renata Tebaldi presented on French and German network television. In January 2006 he broadcasted from Austria for NPR during the festivities surrounding the 250th anniversary of Mozart’s birth. In August 2008, he broadcasted from Torre del Lago, Italy to coincide with observances the 150th anniversary of Puccini’s birth.

Since 2010 he has led a hugely popular series at the Casa Italiana Zerilli-Marimò of New York University called Adventures in Italian Opera in which legendary singers and conductors as well as rising talent join him to co-teach.


From Whetstone High School to La Scala, My Life as a Leading International Singer | Eugenie Grunewald

February 10

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From Aida to Lohengrin - Il Trovatore to Anna Bolena - Don Carlo to Cavalleria Rusticana - the sensational dramatic mezzo who increasingly appears on the short list of major opera houses such as Lyric Opera of Chicago, San Francisco Opera, Houston Grand Opera, Gran Theatre del Liceu Barcelona, Hamburg State Opera, Marseille Opera - is Eugenie Grunewald. For good reason she is becoming the artist of choice for the next generation of dramatic mezzos.

When she saved the day for Houston Grand Opera's Il Trovatore, in a cast that included Marcello Giordani and Sondra Radvanovsky conducted by Patrick Summers, MusicalAmerica.com took up the cheers where the frenzied audience left off: 'Stepping in for Dolora Zajick was no easy task, but Eugenie Grunewald showed herself a mezzo on the move. Praised at home and in Europe in this role and for portrayals of such demonic women as Amneris, Ulrica, and Ortrud, the young American has a huge voice loaded with grit, and she knows how to project it with color and power.'

The good news caught on quickly when the Dallas Morning News raved: 'She's the very incarnation of the gypsy hag's vulnerability and tenderness as well as her burning rage and sheer weirdness.......this is an all-out performance, the tone lava-hot on top, blazing down into chest voice below.'

In 2006 she caused a sensation at the Marseille Opera in a new production of Menotti's Maria Golovin where she galvanized the stage: 'Eugenie Grunewald brought out in the Mother the depth and grandeur of the character. This mezzo soprano possesses so much in terms of voice and soul' announced the France Bleu Provence.

'Eugenie Grunewald as the Mother stands out as the most astonishing singer in the cast, not only because of her impeccable diction in English that makes each word she sings absolutely crystal clear.......But, above all the commanding inwardness and intensity with which the singer invests her interpretation does full justice to the character's psychological depth' rang out Les Echos.

American Mezzo-soprano Eugenie Grunewald has performed to popular and critical acclaim in a broad repertoire that encompasses both the dramatic roles of Verdi and Wagner and the “bel canto” repertoire of Bellini and Donizetti. She has earned recognition not only for her dramatic abilities but for her vocal artistry on the stages of leading opera companies here and in Europe. Theaters in which she has appeared include the Lyric Opera of Chicago (Frugola in Il Tabarro and the Witch in Hansel und Gretel), San Francisco Opera (Amneris in Aida and Ulrica in Un Ballo in Maschera), Houston Grand Opera (Azucena in Il Trovatore), New York City Opera (Mother Marie in Dialogues of the Carmelites and Mrs. Grose in The Turn of the Screw), Teatro Liceu in Barcelona (Giovanna Seymour in Anna Bolena, Amneris in Aida, Preziosilla in La Forza del Destino, Eboli in Don Carlo, and Ortrud in Lohengrin), Teatro Real in Madrid (Morgan le Fey in Albeniz’ world premiere staging of Merlin), Bilbao (Giovanna Seymour), Oviedo (Sara in Roberto Devereux), Teatro Maestranza in Seville (Azucena), Hamburg State Opera (Santuzza in Cavalleria Rusticana, Preziosilla in La Fortza del Destino, Ulrica, and the Nurse in Ariane et Barbe Bleu), Opera de Marseille (Ulrica, Contessa and Madalon in Andrea Chenier and the Mother in Maria Golovin), Theatre du Capitole in Toulouse (Amneris and Dido in Les Troyens), and Opera Toulon (Dame Quickly in Falstaff). Other companies with whom she has appeared include the Florida Grand Opera (Santuzza), Fort Worth Opera (Dame Quickly), Toledo Opera (Baba the Turk and Mother Goose in The Rake’s Progress), Kentucky Opera (Mother Marie and Azucena), New Jersey State Opera (Azucena), New Jersey Opera Theater (Santuzza), New Orleans Opera (Santuzza) and the summer festivals of Glimmerglass (Santuzza) and the Festival of Two Worlds in Spoleto, Italy (the Mother in Maria Golovin).

A sought after artist on the concert stage, Ms. Grunewald has performed the Verdi Requiem in Lisbon, Washington D.C., New Orleans, Dusseldorf, Aspen Music Festival, The Riverside Chorale of New York and the Los Angeles Master Chorale; Brahms' Alto Rhapsody with the Tulsa Symphony; Mahler’s 2nd Symphony with the Arkansas Symphony, Jocasta in Oedipus Rex with Aspen Music Festival conducted by David Zinman; Joan of Arc in Tchaikovsky's The Maid of Orleans and Lubov in Tchaikovsky's Mazeppa opposite June Anderson and Sergei Leiferkus at Carnegie Hall; Anaide in Leoncavallo's Zaza and Margherita in Mascagni's Guglielmo Ratcliff at Alice Tully Hall in Lincoln Center, Mahler’s 8th Symphony with the Bruchnerfest in Linz and SWF-Sinfoniaorchester of Frieburg (Michael Gielen conducting), Beethoven’s Symphony No. 9 with The Columbus Symphony Orchestra under Christian Badea and the Orchestra of St. Luke's under Sir Gilbert Levine. She was also a featured soloist on “Live from Lincoln Center’s Pavarotti Plus.”.

Ms. Grunewald is a graduate of Ohio State University and was the first prize winner in the Enrico Caruso International Voice Competition. She has also received grants from the Olga Forrai Foundation, the Sullivan Foundation, The Gerda Lissner Foundation, and the Singers Development Foundation.


My 50 Years of Dressing Opera Stars at the Met | Charles Caine

February 17

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International costume designer Charles Caine spent nearly two decades at the Metropolitan Opera draping divas in dresses and tenors in tails, all the while amassing tales of personalities and pitfalls along with souvenirs of operatic creations. — The Berkshire Eagle

For this VIVA session we will take a trip into the rarefied world of opera as Caine shares personal stories and memorabilia -- such as legendary Carmen Emma Calvé's scarf and Zeffirelli's Cleopatra bodice for Leontyne Price.

A Manhattan native, he studied theater design at college. When the draft sent him to a television training center in Augusta, Ga., he befriended a local conscript who as a teenager worked backstage whenever the Met toured south.

His friend left the army and joined the Met full time, helping Caine get a job managing the costume shops.

"It was the late 60s, the last year of the old opera house," Caine said.

On an early assignment, he costumed Maria Callas on her return to New York to sing "Tosca." An incredible lady, he recalled, with the highest standards and always prepared -- unlike the tenors, who often didn't know their music or waltzed in late.

"She became very short-tempered with them," he said. "That's what gave her the bad reputation."

While the new Met took shape, he worked with architects and also prepared eight productions for the first season at Lincoln Center.

"They gave me a week off to get married that summer," he recalled.

As resident costume designer, Caine turned concepts by famous designers into costumes and adapted them for subsequent productions.

"We ended up having eight or nine different sets of ‘Tosca' costumes in different shapes and sizes," he said.

In a career highlight, he worked alongside artist Marc Chagall on "The Magic Flute," "collaging thousands and thousands of little pieces of fabric in all sorts of colors" onto white costumes.

"I sat in a studio with Marc Chagall for three and a half months, hand painting along with him all these costumes," he said. He will display two pieces that he framed. "They're a blaze of color -- they are beautiful."

When a warehouse fire destroyed many costumes in the ‘70s, he made his Met debut designing costumes for a new production of "Don Pasquale."

"It opened on New Year's Eve," he recalled.

After 17 years, he left to work for opera companies from San Francisco to Miami and overseas. He designed Berkshire Opera's final three shows, dressing local soprano Maureen O'Flynn in her first "trousers role" as "Cherubino" in "The Marriage of Figaro."

When a tenor went down on one knee at a "Carmen" dress rehearsal in front of four thousand people, "all of a sudden I heard krrrk -- the crotch of his pants had split open."

"His big blousy underwear started falling out," Caine recalled. "He looked like he was giving birth to white cotton."

Once, during a "Die Fledermaus" fitting, he walked in on a naked Kitty Carlisle. Ten years later, when they met on the staircase at a publisher's party, "she said, ‘I know you from someplace,' " he recalled, " ‘and oh, you know a lot about me, more than most people do!'"

For VIVA, Caine will share some revealing secrets of his own.


Ask the Maestro
Q and A with Maestro Alessandro Siciliani and Ed Bak

February 24

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Alessandro Siciliani

Life and career

Siciliani's early life was spent growing up in the opera world of Italy where his father was the director of the country's most prominent opera company, La Scala from 1957 until 1966. His musical interests were formed while attending his father's rehearsals where he had the opportunity to rub shoulders with the world's leading conductors, musicians and opera stars.

Siciliani received his musical training at the Giuseppe Verdi Conservatory in Milan and at the Santa Cecilia Academy in Rome. His studies focused on conducting, which he studied with Franco Ferrara, piano, and composition, graduating with highest honors in all three.

As a conductor, Siciliani has divided his time between opera and the symphonic repertoire. In opera, he conducted extensively at the New York City Opera and made his debut with the Metropolitan Opera on opening night of the 1988/1989 season.[3] Most recently he conducted at the Mariinsky Theatre (formerly the Kirov) in Saint Petersburg, Russia in 2008. As a symphonic conductor he has performed with major orchestras in Prague, Munich, Cologne, Dallas, Pittsburgh, and Washington DC, among many others.

From 1992 to 2004 he was the music director of the Columbus Symphony Orchestra. During his time on the podium the orchestra achieved some of its greatest successes to date, increasing its audience and celebrating its 50th anniversary with a debut appearance at Carnegie Hall. Siciliani's vivid interpretations of the romantic symphonic repertoire and of Italian opera endeared him to audiences in Columbus where he remains a popular figure. In July 2008, he was enthusiastically received when he returned to the podium to conduct the musicians of the Columbus Symphony in a benefit concert during the CSO's recent contract dispute.

Currently, Siciliani maintains his career as a conductor, making guest appearances in Europe and the U.S. He is the Artistic and Musical Director of Opera Project Columbus in Columbus, Ohio, a company dedicated to providing a platform for exceptional emerging talent. He also continues composing, writing works for symphony and chorus.

Early life

Siciliani grew up in Florence and Milan in the home of his parents Ambra and Francesco Siciliani. His father was one of the most important and powerful Artistic Directors in Europe in the 20th century who helped revive some of Italy’s great opera houses after World War II.

Francesco Siciliani was Artistic Director and Manager of La Scala in Milan, The San Carlo in Naples, La Ferenci in Venice, and Theatre Covenale in Florence. He was famous for promoting the early career of such artists as Maria Callas, Renata Tebaldi, and Mario del Monaco.

Alessandro attended all of his father’s rehearsals at the famed Teatro Alla Scala from the time he was a young boy and it instilled in him a deep affinity for opera. Renata Tebaldi was his Godmother.

Siciliani studied at the Giuseppe Verdi Milano Conservatory and at Santa Cecilia in Rome graduating with highest honors in piano, composition, and conducting. He studied conducting with the legendary Franco Ferrara, Leonard Bernstein, Lorin Maazel, Ricardo Muti, and Zubin Mehta.

Siciliani also taught Theory and Solfeggio at the Conservatory of L’Aquila in Abruzzo 1979-1983, as well as Theory and Harmony at the Conservatory of Santa Cecilia in rome 1983-1988

Career

After graduating from Santa Cecilia Conservatory, Siciliani started making guest conducting appearances with orchestras all over the United States and Europe including at the New York City Opera, Metropolitan Opera in New York, Opera company of Philadelphia, Wolf Trap in Washington, DC, Pittsburgh Symphony, Atlanta Symphony, Dallas Symphony, Prague symphony, Radio Orchestra of Munich, National Symphony

Orchestra of Mexico City, English Chamber Orchestra, Teatro dell’Opera of Rome, Teatro Liceo of Barcelona, as well as orchestras in Hong Kong, St. Petersburg, Sao Paolo, Buenos Aires and the National Symphony Orchestra in Washington, D.C. among others.

Maestro Siciliani took the helm of the Columbus Symphony Orchestra 1992-2004 where he led the orchestra’s first recordings in over 20 years and he took the Columbus Symphony Orchestra to debut at Carnegie Hall in 2001. He has a unique ability to take classical music and make it accessible to everyone and during his tenure with the Columbus symphony he continued to lead the orchestra performances to packed houses.

In 2010 until the present, Maestro Siciliani has returned to his operatic roots as the Music Director of Opera Project Columbus where he uses his talents to boost emerging opera talents from central Ohio and beyond.

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Ed Bak

Ed Bak is a pianist, professor in the vocal area at The Ohio State University School of Music, and the Artistic Administrator of Opera Project Columbus. He was appointed to the full-time position at OSU in autumn 2014 following 10 years as a vocal coach and collaborative pianist in the school. He is highly sought after as a collaborator and appears regularly in concert with established artists and emerging talents, and has been heard in such venues as the Teatro Colon, The Monnaie, The Festival Lanaudiere, The Philips Collection, and Kolarac Hall. He is active as a chamber musician and has shared the stage with members of the Boston Symphony Orchestra, The Cleveland Orchestra, The Philadelphia Orchestra, and the Chicago Symphony. He has also worked with great artist teachers like Renata Scotto, Ellen Faull, Shirlee Emmons, Renee Fleming, and John Shirley Quirk. He is a regular faculty member at Prelude to Performance in New York City, and at the AIMS institute in Graz, Austria.

VIVA Festival Success

Alessandro Siciliani, Music Director
PO Box 14185
Columbus, OH 43214
www.operaprojectcolumbus.com 

Opera Project Columbus is proud of its successful VIVA Festival, Virtual Intensive Vocal Academy which took place in late June. 

Alessandro Siciliani, Music Director of Opera Project Columbus said of the festival, “Like many things right now, we needed something to keep our mission alive to help these artists maintain their skills. The subject matter of the VIVA classes was essential to the operatic career, and we were happy to offer them. We are looking forward to more VIVA classes in the future.” 

Opera Project Columbus is one of the very few opera companies to offer continued educational opportunities during the Summer of 2020. Summer vocal festivals around the world have been canceled due to COVID-19. These festivals are pertinent to the training and continued education of vocal artists around the world. Opera Project Columbus was able to fill the void of these canceled festivals with a sold-out program welcoming vocal artist participants from across the globe, with many specific to Central Ohio. The courses, carefully selected by Opera Project Columbus’ Artistic Administrator, Ed Bak, covered a wide range of topics and dove deep into topics that are not typically covered. The faculty that conducted the classes are the highest regarded experts in their field. 

Participants left the series noting that they gained knowledge, experience, motivation, perception, and had some wonderful feedback, some listed below. 

“Each course was spectacular and I especially loved how each was different in content and rich with knowledge. I liked how they were laid out and offered a new perspective on a new topic each day. The speakers were clearly very well prepared and taught me so much more than I have ever known. I am so glad that so many topics were covered and talked about because it truly helped to open my eyes to the profession as a whole and not just one or two aspects of the career.” 

“There was so much information each and every day that I found to be extremely helpful in my own professional and personal development as a musician and performer. Each day brought about new and exciting topics that taught me more than I have ever known about the field. The last class with Emilio Pons was especially enlightening in learning about the many realities of the profession. I enjoyed and retained all of the incredible advice and knowledge from each of the speakers and I am so grateful for the opportunity to have been able to learn from them.” 

“The most valuable information came from the opera business discussion led by Mr. Pons. It was a revealing and sometimes a bit of a reality check into aspirations of being a successful international opera singer. It covered so many aspects of the industry.” 

“My overall impressions are that the courses are geared towards highlighting the components of classical singing that aren’t really discussed much in-depth (at least in my experience) but are of high importance. The courses provided me with an “inside look” of what a profession in classical singing is really like. The VIVA Festival lectures were also diverse in the subject matter which is also obliging to what a young artist is looking for in value and enrichment.” 

The esteemed faculty consisted of Ed Bak, Vocal coach and Artistic Administrator for Opera Project Columbus, with a course “The Music of Language”; Wendy Taucher, NYC stage director and choreographer, offered a course on “Performance skills for opera singers”; We welcomed Giuseppe Filianoti, Leading International Tenor, who taught a class on Italian text and recitative, “Singing the Italian Language” which will focus on the Italian language and proper pronunciation and articulation; Photographer and Makeup Artist, Devon Cass, covered the importance of image and how to create the strongest presentation with “How to get the Perfect Headshot and Image” and we rounded out the week with Emilio Pons, Founder of Sankt Goar International Academy, who joined us in a frank discussion about “Auditioning in Europe.” How to avoid pitfalls and common mistakes while seeking work in Europe and how to gain an advantage in overseas auditions. All of the classes were full of important information that the students would not have otherwise had access too. The feedback from participants was that they wanted more time with each of the faculty and that what they learned was invaluable. Opera Project Columbus is thrilled that they have more VIVA series in the works and will be making announcements when registration opens for each session. 

While many performance organizations are on hiatus, Opera Project Columbus is proud to be able to continue to engage with our talent as well as our patrons with continuing educational opportunities such as VIVA Festival and our virtual opera, Una Furtiva Lagrima, which has been one of the only virtual operas done in perfection while all musicians and vocalist performed in separate locations. Quite a feat and one that we are very proud of.


Opera Project Columbus 

Opera Project Columbus is a non-profit organization founded in 2011. We seek out, find, and nurture raw and emerging operatic talent as we reinvent the art form to appeal to contemporary audiences. We also aim to grow and raise the standards of the Central Ohio arts community by infusing it with our unique brand of opera. The company is led by Alessandro Siciliani, Artistic and Music Director.  The company has received support from The Columbus Foundation/Ingram-White Castle Foundation, the Ohio Arts Council, and the Greater Columbus Art Council.


Contact: leslie@operaprojectcolumbus.com

OPC is Proud to Announce…

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was your summer festival cancelled?

Join us for the viva festival!


The Virtual intensive vocal academy
presented by Opera project columbus

June 22-26, 1 pm - 2 pm EDT on Zoom


featuring our esteemed faculty

 FACULTY AND COURSEs

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Ed Bak
the music of language

Monday, June 22, 1 pm - 2 pm EDT

How characteristic features of the major singing languages (French, German, and Italian) influence musical style. Specific areas of focus are phrasing, inflections, and speech rhythms. 

Ed Bak, pianist, is a professor in the vocal area at The Ohio State University School of Music. He was appointed to the full-time position in autumn 2014 following 10 years as a vocal coach and collaborative pianist in the school. He is highly sought after as a collaborator and appears regularly in concert with established artists and emerging talents, and has been heard in such venues as the Teatro Colon, The Monnaie, The Festival Lanaudiere, The Philips Collection, and Kolarac Hall. He is active as a chamber musician and has shared the stage with members of the Boston Symphony Orchestra, The Cleveland Orchestra, The Philadelphia Orchestra, and the Chicago Symphony. He has also worked with great artist teachers like Renata Scotto, Ellen Faull, Shirlee Emmons, Renee Fleming, and John Shirley Quirk. He is a regular faculty member at Prelude to Performance in New York City, and at the AIMS institute in Graz, Austria.

 
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WENDY TAUCHER
PERFORMANCE SKILLS FOR OPERA SINGERS

Tuesday, June 23, 1 pm - 2 pm EDT

Creating character through the heart, soul, body, and brain.

The workshop will explore the process a singer should bring to the creation of their role. Discussions will include how to access skills in acting movement, and interpretation while keeping musicality and vocal technique at the fore. The goal is to encourage singers to prepare their entire role while integrating all of the above mentioned considerations, have them ready at the first rehearsal, and evolve given the director’s overall concept and specific instructions. 

New Yorker Wendy Taucher brings a unique experience to her work as a director/choreographer. Equally at home in opera, theater, and concert dance, career highlights include fellowships from the NEA and Jacob’s Pillow, Arezzo International Festival Best Direction, commissions from the Studios of Key West and Harkness Dance Foundation, work as a teaching artist at Lincoln Center Education, as an author for Pearson Education, and collaboration with the Jose Limon Dance Company. Wendy’s work has been favorably featured in media around the world including the New York Times, NPR Chicago/Cape and Islands/Key West/Nebraska, Village Voice, Dance Magazine, Opera News, Huffington Post, Chicago Tribune, Times of London, La Republica, The Scottsman, MV Times and Slovenian TV. She produces salon operas annually on Martha’s Vineyard, NYC and on tour, with casts that often include soloists from the Metropolitan Opera and NYCO. She has directed/choreographed for Martina Arroyo’s Prelude to Performance, Eastman Opera Theatre, Connecticut Opera, Nevada Opera Theatre, Chelsea Opera, and Mississippi Opera among many other companies. Robert Brustein (founder of Yale Rep and Harvard’s ART) said of a Taucher’s recent Magic Flute “That was a truly splendid evening…Congratulations to all your performers. They are, without exception, superb. I am sure Mozart must have been happy too.”

 
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GIUSEPPE FILIANOTI
SINGING THE ITALIAN LANGUAGE

Wednesday, June 24, 1 pm - 2 pm EDT

“What I do is the study of interpretation with words. It’s not strictly diction.”

This class will cover: 

  • Pronunciation and articulation: the importance of the formation of vowels and consonants for an opera singer

  • How to unite the consonant with the vowel

  • Open and closed sounds depending on the different Italian vowels

  • Diction and interpretation in the Italian repertoire

Giuseppe Filianoti is one of the preeminent lyric tenors of his generation. Since his professional debut in 1998, Mr. Filianoti has emerged as a beacon of style and nuance in a wide-ranging repertoire. While the majority of his performances have centered on the Bel Canto and later 19th-century lyric Italian and French works, he has also successfully essayed roles by Cherubini and Mozart through such 20th century masters as Strauss, Debussy, and Stravinsky. His engagements have included a guest appearance by the Teatro alla Scala at Moscow’s Bolshoi Theater in Don Giovanni, the Verdi Requiem in Strasbourg, the Richard Tucker Music Foundation’s Gala (televised on “Live From Lincoln Center” series), both La Clemenza di Tito (including a “Live in HD” performance) and La Rondine at the Metropolitan Opera, Rigoletto with Lyric Opera of Chicago, La Clemenza di Tito for his company’s debut at Triests’s Teatro Lirico Giuseppe Verdi, and Les Contes d’Hoffman at the Bayerische Staatsoper.

Additionally Mr. Filianoti has also enjoyed frequent engagements at many of the world’s other leading opera houses including the Wiener Staatsoper, Covent Garden, Opera National di Paris, and both the Deutsche Oper and the Staatsoper Berlin among many others. 

Many of the tenor’s performances of both rarely heard and popular works have appeared on CD and DVD on such labels as Opera Rara, Naxos, BMG/Ricordi, Bongiovanni, ROF, TDK, Arthaus Musik, La Voce, Dynamic, Hardy Classics, and CPO.

 
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DEVON CASS
hOW TO GET THE PERFECT HEADSHOT AND IMAGE

Thursday, June 25, 1 pm - 2 pm EDT

NYC photographer and makeup artist Devon Cass teaches you a day to evening look perfect for auditions and performing. Then he will show you how to get an engaging marketable headshot that is sure to make you shine and get noticed.

Devon Cass: a makeup artist, photographer, master of the celebrity lookalike, author. All of Devon’s talents uniquely blend together to make whatever he does a pop culture phenomenon. He has been written up in top magazines from Marie Claire to Entertainment Weekly and appeared on almost every major television talk show throughout the US and Europe. 

At the age of 21 Devon moved to NYC and by 22 had opened his first studio. His assignments included working with major recording companies as well as celebrities such as Kelly Ripa, Michael Strahan, Isaac Hayes, Donna Karan, Traci Lords, recording artists such as Fabolus, Fatman Scoop, Leslie Uggams, LaToya from Destiny’s Child, Nancy Wilson, and more. Opera divas included Deborah Voigt, Denyce Graves, and Patricia Racette. 

Devon has been hailed as a “makeup genius” in articles showcasing his talent such as in Glamour Magazine. His objective is to help give everyone the opportunity to feel, become and embody a more professional and celebrity styled image. 

 
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EMILIO PONs
AUDITIONING IN EUROPE

Friday, June 26, 1 pm - 2 pm EDT

A frank discussion about pitfalls and common mistakes many singers make when seeking work across the pond. Real and concrete advice about gaining the advantage in overseas auditions.

Dr. Emilio Pons (Mexico/Germany), tenor, has performed over 30 roles such as Taminoi, Don Ottavio, Ferrando, Lensky, Nemorino, Tom Rakewell, and many others across Europe, Asia, the Middle East, and Latin America. 

He has earned both a DM and an MM from the Indiana University School of Music as well as an Artist Diploma in Piano Performance from the National Conservatory of Music in Mexico City. 

Featured most prominently amongst the many opera houses and festivals in which he has performed are the Festival d’Aix-En-Provence, Theatre des Champs-Elyseeas, Mariinsky Theatre, Grand Theatre de Geneve, Royal Danish Opera, Deutsche Oper am Rhein, Grand Theatre de Luxembourg, Vlaamse Opera, Teatro Municipal de Santiago, Teatro Municipal de Rio de Janeiro, Opera de Bellas Artes, ec. 

Known as a skilled polyglot, he speaks English, Spanish, German, French, Italian, and Russian fluently. He is co-founder of the Sankt Goar International Music Festival and Academy, member of the European Cultural Parliament, and is also active internationally as an agent, having brokered contracts in Germany, Spain, the United Kingdom, and Mexico for a select number of internationally renowned clients.