91ֱ�� Opera Theater Presents “Later the Same Evening and Bastianello”</h1> <article> <h1>91ֱ�� Opera Theater Presents “Later the Same Evening and Bastianello”</h1> <p>awillia2 — Thu, 19 Feb 2026 17:51:29 +0000</p> <span>91ֱ�� Opera Theater Presents “Later the Same Evening and Bastianello”</span> <span><span>awillia2</span></span> <span><time datetime="2026-02-19T12:51:29-05:00" title="Thursday, February 19, 2026 - 12:51">Thu, 02/19/2026 - 12:51</time> </span> <div class="text-content field field--name-body field--type-text-with-summary field--label-hidden field__item"><p>From March 5 through 7, 91ֱ�� Opera Theater will transform paintings and folktale into living drama in <em>Later the Same Evening</em> and <em>Bastianello, </em>with music by John Musto and libretti by Mark Campbell. The double bill, performed by 91ֱ�� opera students, offers a rare opportunity for students to work directly with Musto and gain firsthand insight into the music.</p><p>Built around five paintings by Edward Hopper, <em>Later the Same Evening</em> is a one-act opera that follows the individual and intertwined romantic journeys of characters inspired by <em>Room in New York</em>, <em>Hotel Window</em>, <em>Hotel Room</em>, <em>Two on the Aisle</em>, and <em>Automat</em>. While Hopper’s paintings illustrate stillness and solitude, the opera imagines lives that unfold beyond the frame. Set in New York City, the characters’ individual stories intersect when they all find themselves in the same Broadway theater watching the same fictional show.</p><p>That scene is particularly striking, explains composer Musto, because “no one sings at all.” Yet earlier scenes include “allusions to tunes that are in this fictional show.” One of these fictional tunes, “Where is the Man in Manhattan?," is so convincing that, according to Musto, “somebody called the opera office and wanted to know where they could find the music to that old song.” The humor, he notes, is that “there wasn’t any song”—it exists only in the fictional musical <em>Tell Me Tomorrow. </em>While the show tunes may be imagined, the world of <em>Later the Same Evening</em> paints a very real human experience of love in all its stages.</p><p><em>Later the Same Evening </em>is uniquely balanced by <em>Bastianello</em>, an absurd one-act opera by the same composer and librettist. Based on an Italian folktale often compared to “The Three Sillies,” the opera follows Luciano, a husband who—after declaring his wife, father-in-law, and even his own mother to be stupid—sets out to find six people “more foolish, more idiotic, truly stupider, and more without a clue.” Along the way, he encounters a series of absurd characters with equally absurd problems, which Luciano helps to solve. </p><p>Composer Musto praises Campbell’s “genius,” noting that while <em>Bastianello</em> "originally read… very, very comedic,” Campbell "turned it very serious at the end,” a shift that really turned it into an opera… because of that last scene.” Due to Campbell’s expert storytelling and skillful balance of humor and seriousness, <em>Bastienello</em> is full of delightful absurdity and laughter while also exploring deeper, more human themes.</p><p>This double bill is expertly led and put together by Guest Stage Director Scott Skiba ’03 and Conductor Timothy Weiss, professor of conducting and director of the Contemporary Music Ensemble and 91ֱ�� Sinfonietta. </p><p>Although Skiba has maintained a relationship with 91ֱ�� since his graduation in 2003—returning for 91ֱ�� in Italy and several Winter Term operas—he is excited to be back, directing in the room where, in 1997, he discovered that he wanted to “work with singing-actors and help them on their journey to become more compelling, more believable, more dynamic.” He emphasizes that working on newer operas is “an especially good vehicle for talented students to learn,” because there’s no definitive performance of <em>Later the Same Evening</em> or <em>Bastianello.</em>” “It’s a blank canvas, more or less,” he says.</p><p>Skiba hopes the production will draw new audiences to the opera, pointing to the “beautiful moments of melodic writing and poignant, inspiring words” from both composer Musto and librettist Campbell. “You will laugh, you will cry, you get to see a lot of talented students,” he says, highlighting the unique balance between the two stories and the energy and work brought by the students of 91ֱ�� Opera Theater.</p><p>Conductor Weiss, who frequently works with contemporary music, highlights the unique challenge of performing newer works such as <em>Later the Same Evening </em>and <em>Bastianello. </em>“There’s not a lot of performance history to go on,” he explains, so even though 91ֱ�� Opera Theater “is not the first to do it, there’s an element of making the wheel, inventing the wheel, or at least remaking a wheel that was just made.” Weiss emphasizes that when working on newer compositions, “it’s always best to do it in consultation—or with—the composer,” which was an experience offered to both staff and students by the John Musto residency. </p><p>Weiss says there are many reasons to see these operas: “Comedy—there's ridiculous slapstick comedy. There’s uncontrollable, laugh-out-loud, belly-laugh funny moments, but there are also some incredibly tender, emotional scenes.” And in true 91ֱ�� fashion, he adds, “It's cold outside…the weather has been miserable, and this is a way to come together and just bask in the glow.”</p><p>Performances will be held in Hall Auditorium from March 5 through 7 at 8 p.m., and March 8 at 2 p.m. Tickets are now available online at the <a href="/artsguide/opera" target="_blank" data-entity-type="node" data-entity-uuid="f8f47558-9014-44a3-a1c8-42857cf91a24" data-entity-substitution="canonical" title="Opera 2025-26 Season">91ֱ�� College Artsguide</a>. Reserved seating is $15, while discounted tickets for students, faculty, alumni, and senior citizens are available for $10.</p></div> <div class="field field--name-field-news-subhead field--type-string field--label-hidden field__item">Spring production features two one-act operas with music by John Musto and librettos by Mark Campbell.</div> <div class="field field--name-field-news-type field--type-entity-reference field--label-hidden field__item">News Story</div> <div class="field field--name-field-news-date field--type-datetime field--label-hidden field__item"><time datetime="2026-02-19T12:00:00Z">Thu, 02/19/2026 - 12:00</time> </div> <div class="field field--name-field-news-author field--type-string field--label-hidden field__item">Kailey Pritchard ’26</div> <div class="field field--name-field-news-tags field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?tag=2356">Conservatory</a></div> <div class="field__item"><a href="/news?tag=3878">Conservatory of Music</a></div> <div class="field__item"><a href="/news?tag=3873">91ֱ�� Opera Theater</a></div> </div> <div class="field field--name-field-news-programs field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?program=32971">Opera Theater</a></div> <div class="field__item"><a href="/news?program=35596">Voice</a></div> </div> <div class="field field--name-field-news-pin-school-page field--type-boolean field--label-hidden field__item">Off</div> <div class="field field--name-field-news-photo-gallery-top field--type-boolean field--label-hidden field__item">false</div> <div class="field field--name-field-news-media field--type-entity-reference field--label-hidden field__item"> </div> <div class="field field--name-field-news-flex-content field--type-entity-reference-revisions field--label-hidden vertical-spacing--basic field__items"> <div class="field__item"> <div id="obj-48236" class="paragraph paragraph--type--para-el-copy paragraph--view-mode--default o-flex--basic-copy basic-copy"> <hr><p><em>Kailey Pritchard ’26 is a fourth-year voice major and a student communications assistant for the Office of Conservatory Communications. She is a member of the cast of this spring’s opera production.</em></p> </div> </div> </div> <div class="field field--name-field-news-article-header field--type-boolean field--label-hidden field__item">0</div> </article> <article> <h1>91ֱ�� Opera Theater Presents “L’Amant Anonyme,” a Witty and Heartfelt Two-sided Love Triangle.</h1> <p>srasmuss — Wed, 22 Oct 2025 15:27:57 +0000</p> <span>91ֱ�� Opera Theater Presents “L’Amant Anonyme,” a Witty and Heartfelt Two-sided Love Triangle.</span> <span><span>srasmuss</span></span> <span><time datetime="2025-10-22T11:27:57-04:00" title="Wednesday, October 22, 2025 - 11:27">Wed, 10/22/2025 - 11:27</time> </span> <div class="text-content field field--name-body field--type-text-with-summary field--label-hidden field__item"><p>Composed in the late 1700s by Joseph Bologne, Chevalier de Saint-Georges, with a libretto based on the play by Stéphanie Félicité de Genlis, L'amant Anonyme is an opéra comique—a French form of opera in which spoken dialogue alternates with self-contained musical numbers—that offers a witty and charming tale of love hindered by the chains of society. This production is brought to life through the direction of Fenlon Lamb and the conducting of Kelly Kuo. </p><p>Joseph Bologne, Chevalier de Saint-Georges, was a man of many talents. Outside of being considered the first black composer of the classical era, he was an athlete, conductor, fencer, and violinist. In his only surviving opera, L’Amant Anonyme, the audience is drawn into the story of a man who has long concealed his love for Léontine, spending years sending anonymous gifts and letters. With the assistance of friends at Madame Léotine’s chateau, much confusion and hijinks unfold as the mystery of the “anonymous lover”’s identity begins to unravel. </p><p>“It’s a love triangle between two people, with a push and pull where the two of them get in their own way,” explains Fenlon Lamb, guest director and opera theater professor. “The opera offers a fuller portrayal of the time period and includes a lot more diverse ideas on who is worthy of love and who can be together in a romantic sense… I think the librettist being a woman may have informed the themes of women owning land, property, and money, and the idea of being the correct class in order to be in love with somebody.” </p><p>Lamb is excited for audiences to experience “students being able to act, sing, and move convincingly in the style of this time period–with a pantomime full of frolic and rollicking good times.”</p><p>Guest Conductor Kelly Kuo reflects on Bologne’s legacy, saying, “He would likely have been a superstar, if it wasn’t for the color of his skin.” </p><p>"There's no question that in a different time, there would be a lot more people talking about him. This composer lived in a time where marriage between classes was not an option for him due to his racial background. The parallels between that and the opera are very clear to me.” </p><p>Kuo adds, “in a world that currently seems to lean more and more towards being closed-minded, it's more important than ever to be curious, to want to learn about others, to create rather than destroy, and to lift up rather than bring down, and I think this production goes a long way towards embracing those values.” </p><p>91ֱ�� Opera Theater’s production of L’Amant Anonyme will be sung in French with dialogue in English with various other works of Bologne’s integrated throughout. Performances will be held in Hall Auditorium November 6 through 8 at 8 p.m. and November 9 at 2 p.m. <a href="/artsguide/opera">Tickets</a> are now available on the 91ֱ�� College website–reserved seating is $15 and student, faculty, alumni, and senior citizen discounted tickets are available for $10.</p></div> <div class="field field--name-field-news-type field--type-entity-reference field--label-hidden field__item">News Story</div> <div class="field field--name-field-news-date field--type-datetime field--label-hidden field__item"><time datetime="2025-10-22T12:00:00Z">Wed, 10/22/2025 - 12:00</time> </div> <div class="field field--name-field-news-author field--type-string field--label-hidden field__item">Kailey Pritchard</div> <div class="text-content field field--name-field-intro-text field--type-text-long field--label-hidden field__item"><p>This fall, Hall Auditorium will be filled with the sound of laughter as 91ֱ�� Opera Theater presents L’Amant Anonyme. </p></div> <div class="field field--name-field-news-tags field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?tag=3878">Conservatory of Music</a></div> <div class="field__item"><a href="/news?tag=2356">Conservatory</a></div> </div> <div class="field field--name-field-news-programs field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?program=32971">Opera Theater</a></div> </div> <div class="field field--name-field-news-departments field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/conservatory/divisions/vocal-studies" hreflang="und">Vocal Studies</a></div> </div> <div class="field field--name-field-news-pin-school-page field--type-boolean field--label-hidden field__item">Off</div> <div class="field field--name-field-news-photo-gallery-top field--type-boolean field--label-hidden field__item">false</div> <div class="field field--name-field-news-media field--type-entity-reference field--label-hidden field__item"> </div> <div class="field field--name-field-news-article-header field--type-boolean field--label-hidden field__item">0</div> </article> <article> <h1>91ֱ�� Opera Brings “Jack and the Beanstalk” to Schools Across Northeast Ohio for Winter Term</h1> <p>srasmuss — Mon, 10 Mar 2025 18:24:48 +0000</p> <span>91ֱ�� Opera Brings “Jack and the Beanstalk” to Schools Across Northeast Ohio for Winter Term</span> <span><span>srasmuss</span></span> <span><time datetime="2025-03-10T14:24:48-04:00" title="Monday, March 10, 2025 - 14:24">Mon, 03/10/2025 - 14:24</time> </span> <div class="text-content field field--name-body field--type-text-with-summary field--label-hidden field__item"><p>This January, 91ֱ�� voice students had a unique opportunity to rehearse and tour the opera rendition of Jack and the Beanstalk in just one month. This experience included a total of ten performances, allowing 91ֱ�� students to connect with hundreds of enthusiastic elementary and middle school students across Northeast Ohio, providing invaluable exposure to classical singing bound to inspire.</p> <p>"With it going on during Winter Term," said second-year voice major Ella Vaughn, who played the roles of Jack’s Mother and the Giant’s Wife, "it was really nice to be able to focus on the production without classes.” During Winter Term, 91ֱ�� students pursue a unique project outside of regular course offerings, which can be done across the U.S., around the world, or, in the case of Jack and the Beanstalk, on campus. Directed by Associate Professor of Opera <a href="/stephanie-havey">Stephanie Havey</a> and Associate Professor of Opera Coaching <a href="/kyung-eun-na">Kyung-Eun Na</a>, students had only a mere one-and-a-half weeks of rehearsal to prepare the entire production, during which they were also responsible for setting up the stage and moving props. Vaughn commented on how even though the show was, at times, comedic and lighthearted, “our director, Stephanie Havey, put thought and effort into the staging and overall purpose of the show, which is important when thinking about our characters and the message we want the kids to go home with.”</p> <p> “I’m really glad I had this opportunity,” Vaughn said about the tour, “and I hope they continue doing these tours because it's really important for us performers and for the community.” Jack and the Beanstalk marks the beginning of <a href="/opera-theater">91ֱ�� Opera’s</a> ongoing commitment to community engagement. Havey intends for 91ֱ��’s Opera program to offer a community-facing opera as a Winter Term project each January moving forward—in addition to two full-length productions each semester—ultimately providing numerous performance opportunities and chances to explore cities beyond 91ֱ��. “I've only been in productions where we perform three or four times, so having a lot of performances was both fun and tiring. It was exciting to see how we could make different choices by interacting with other people in the cast and the kids in the audience.”</p> <p> Opera Tour Director Stephanie Havey also shed light on the purpose of the tour: “Our hope with this tour is to inspire children to love music and learn more about it. We hope to set the stage for future opera lovers.” With engaging and lighthearted study guides—provided to each school in advance—behind-the-scenes insights, interactive chase scenes, and enthusiastic Q&A sessions after each performance, young students experienced a dynamic and immersive introduction to opera. “The young audiences at the Elementary Schools were completely enthralled with seeing a live theatrical performance,” she said, “I saw that as a desire to connect with the performers—to see themselves in the performers.”</p> <p> The experience was not only transformative for children in the audience but also professionally informative for students in the cast. As Vaughn noted, “Learning how to quickly get a show on its feet, performing at early hours in the morning, having multiple performances a day, interacting with different audiences—these are all things that are common in a professional opera career.” The Winter Term project provided a variety of real-world opera experiences that are essential for emerging performers. “Additionally, a lot of young artist programs at opera houses do a school tour similar to this, so there's a good chance I'll be doing this in my future as well.”</p> <p> </p> <p> Through this project, 91ֱ�� Opera not only enriched the local community but also equipped its students with essential professional experiences and skills. With plans to continue these performances in future Winter Terms, 91ֱ��’s commitment to community engagement and professional-level exposure ensures that opera remains a vibrant, accessible art form for generations to come.</p></div> <div class="field field--name-field-news-type field--type-entity-reference field--label-hidden field__item">News Story</div> <div class="field field--name-field-news-date field--type-datetime field--label-hidden field__item"><time datetime="2025-03-10T12:00:00Z">Mon, 03/10/2025 - 12:00</time> </div> <div class="field field--name-field-news-author field--type-string field--label-hidden field__item">George Rogers</div> <div class="field field--name-field-news-tags field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?tag=2356">Conservatory</a></div> <div class="field__item"><a href="/news?tag=3878">Conservatory of Music</a></div> <div class="field__item"><a href="/news?tag=3873">91ֱ�� Opera Theater</a></div> <div class="field__item"><a href="/news?tag=3319">Community Engagement</a></div> <div class="field__item"><a href="/news?tag=2398">Community Education</a></div> </div> <div class="field field--name-field-news-programs field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?program=32971">Opera Theater</a></div> </div> <div class="field field--name-field-news-departments field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/conservatory/divisions/vocal-studies" hreflang="und">Vocal Studies</a></div> </div> <div class="field field--name-field-news-pin-school-page field--type-boolean field--label-hidden field__item">Off</div> <div class="field field--name-field-news-photo-gallery-top field--type-boolean field--label-hidden field__item">false</div> <div class="field field--name-field-news-image-credit field--type-string field--label-hidden field__item">Genevieve Dilan '24</div> <div class="field field--name-field-news-media field--type-entity-reference field--label-hidden field__item"> </div> </article> <article> <h1>Mozart’s Comedy Shines a Light on the Game of Love</h1> <p>srasmuss — Fri, 28 Feb 2025 20:37:38 +0000</p> <span>Mozart’s Comedy Shines a Light on the Game of Love</span> <span><span>srasmuss</span></span> <span><time datetime="2025-02-28T15:37:38-05:00" title="Friday, February 28, 2025 - 15:37">Fri, 02/28/2025 - 15:37</time> </span> <div class="text-content field field--name-body field--type-text-with-summary field--label-hidden field__item"><p>With multiple love triangles, masked identities, and deceptive game-playing, La Finta Giardiniera promises an evening filled with laughter. This “opera buffa” —or comic opera—will be brought to life through the direction of <a href="/stephanie-havey">Stephanie Havey</a>, the conducting of <a href="https://www.christiancapocaccia.com/">Christian Capocaccia</a>, and the dedicated work of numerous staff and cast members. The opera makes comedy one of its most definitive features, and Mozart entices his audience into a whimsical garden of love and games where appearances can be deceiving, and not everyone is who they claim to be.</p> <p>The comedic aspects of the plot serves as a vehicle for profound artistic expression, particularly through the arias. Here, Mozart explores the emotional turmoil of characters and their attempts to understand their situation. Sandrina, the "Pretend Garden Girl," must grapple with her own identity as she masquerades as a humble gardener, all the while concealing the fact that she is, in reality, a Countess. Furthermore, many of the other characters are similarly deceiving one another, each hoping to escape their current romantic entanglements by assuming false identities. </p> <p>“The over-the-top, unbelievable plotline made me think of children on a playground, so we tried to create a playground environment for this drama to play out.” states Stephanie Havey, Associate Professor of Opera Theater and La finta giardiniera Director. “So you see playground elements popping up in the garden along the way.” </p> <p>Excitement fills the rehearsal room as cast members discover fresh ways to infuse the playful spirit into their arias, adding a vibrant energy that mirrors the youthful energy of Mozart's composition—a side of him audiences do not get to experience very often.</p> <p>Conductor Christian Capocaccia returns to 91ֱ�� after conducting with 91ֱ�� Opera Theater in spring 2024 for Monteverdi’s L’Orfeo. Born and raised in Italy, he works with singers to perfect their Italian while giving valuable insight into the music itself. This opera, one of Mozart’s earliest works, serves as a precursor to his later masterpieces like Le Nozze di Figaro. In La finta giardiniera, Mozart explores the topic of marriage, class structures, and power dynamics between couples; all which are ideas that we see in his later works. While some critics argue that it lacks the polish of his more mature compositions, its youthful energy aligns with the theme of this production: the game of love. </p> <p>TICKET INFORMATION<br> $10 reserved seating ($8 students)<br> Tickets are available <a href="/tickets/event-details?EventId=16001">online </a>and by phone at 800-371-0178. Patrons may also purchase them in person between noon and 5 p.m., Monday through Friday, at 91ֱ�� College's <a href="/tickets">Central Ticket Service</a>, located at 67 N. Main Street, in the lobby of the Eric Baker Nord Performing Arts Complex.</p> <p><a href="/tickets/event-details?EventId=16001">Online Box Office</a></p> <p>PRODUCTION DETAILS<br> Thursday, March 6 - Saturday, March 8 at 8:00 p.m.<br> Sunday, March 9 at 2:00 p.m.<br> 91ֱ�� College Hall Auditorium<br> 67 N. Main Street<br> 91ֱ��, Ohio</p> <p>This production will be available via <a href="https://vimeo.com/event/690987/2eb3338452">livestream</a> on Thursday and Friday, March 6 and 7 only.</p> <p>Proudly supported by <a href="https://www.ideastream.org/">Ideastream Public Media</a>, official media partner of 91ֱ��'s Artist Recital Series and Opera Theater productions.</p> <p> </p> <p> </p> <p> </p> <p>91ֱ�� Opera Theater invites audiences into a garden of mystery, comedy, and love with its production of La Finta Giardiniera, running from March 6-8 at 8 p.m., with a matinee performance on March 9 at 2 p.m.</p></div> <div class="field field--name-field-news-type field--type-entity-reference field--label-hidden field__item">News Story</div> <div class="field field--name-field-news-date field--type-datetime field--label-hidden field__item"><time datetime="2025-02-28T12:00:00Z">Fri, 02/28/2025 - 12:00</time> </div> <div class="field field--name-field-news-author field--type-string field--label-hidden field__item">Saige Hoffman</div> <div class="field field--name-field-news-tags field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?tag=2356">Conservatory</a></div> <div class="field__item"><a href="/news?tag=3878">Conservatory of Music</a></div> <div class="field__item"><a href="/news?tag=3873">91ֱ�� Opera Theater</a></div> </div> <div class="field field--name-field-news-programs field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?program=32971">Opera Theater</a></div> </div> <div class="field field--name-field-news-departments field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/conservatory/divisions/vocal-studies" hreflang="und">Vocal Studies</a></div> </div> <div class="field field--name-field-news-pin-school-page field--type-boolean field--label-hidden field__item">Off</div> <div class="field field--name-field-news-photo-gallery-top field--type-boolean field--label-hidden field__item">false</div> <div class="field field--name-field-news-media field--type-entity-reference field--label-hidden field__item"> </div> </article> <article> <h1>Richard Miller Voice Competition and Daniel Okulitch: Honoring a Legacy of Excellence</h1> <p>srasmuss — Tue, 11 Feb 2025 18:55:04 +0000</p> <span>Richard Miller Voice Competition and Daniel Okulitch: Honoring a Legacy of Excellence</span> <span><span>srasmuss</span></span> <span><time datetime="2025-02-11T13:55:04-05:00" title="Tuesday, February 11, 2025 - 13:55">Tue, 02/11/2025 - 13:55</time> </span> <div class="text-content field field--name-body field--type-text-with-summary field--label-hidden field__item"><p>91ֱ�� Conservatory’s Richard Miller Voice Competition—founded in 2023 by professor <a href="/salvatore-champagne">Salvatore Champagne '85</a> who serves as the competition director—is now in its second year. The competition shines a spotlight on exceptional high school vocal talent from across the nation. It honors the legacy of a former faculty member renowned for his contributions to vocal pedagogy. This year's event saw a remarkable turnout of talented young singers, who competed in the morning and received afternoon masterclasses from 91ֱ�� voice faculty and distinguished alumnus <a href="https://www.danielokulitch.com/">Daniel Okulitch</a>.</p> <p><a href="/news/voice-professor-daune-mahy-honored-may-12-celebration"></a>Okulitch, a world-renowned opera singer and former student of Richard Miller, returned to 91ֱ�� to lead a guest masterclass for the competition participants. His approach made the one-on-one experience deeply personal for each student. “Sometimes, very short masterclasses are like speed chess,” Okulitch says. “It rewards bold, unpredictable moves that keep the person you’re playing (against) on their toes or maybe surprise them. And that’s what shorter masterclasses are; you have to do something that will surprise them out of their habits and introduce a new idea.”</p> <p><a href="/news/oberlin-conservatory-launches-new-competition-high-school-classical-vocalists">Richard Miller</a>, whose tenure at 91ֱ�� left an indelible mark on generations of voice students and educators, was celebrated through the second annual competition and Okulitch’s participation. Miller was known internationally for his unique pedagogical approach, which focused on building strong foundational technique with undergraduate students exclusively—an approach which Miller described as “pushing baby ducks into the water.” </p> <p>On Miller’s influence, Okulitch shares, “He’s with me in every lesson that I teach,” and describing him as a “Renaissance man” whose teachings continue to resonate deeply with both teachers and students.</p> <p>Okulitch notes the distinctiveness of 91ֱ��’s Miller Competition compared to other vocal contests. He expressed his surprise and admiration for the level of talent among high school participants, many of whom he found to be on par with college-level singers. “It’s great because it attracts high-level students to 91ֱ��, and that’s ultimately what happened to me as well.” When Okulitch was 17, he attended a summer program at 91ֱ�� that was run by 91ֱ�� faculty Gerald Crawford and <a href="/news/voice-professor-daune-mahy-honored-may-12-celebration">Daun Mahy</a>.</p> <p>Reflecting on his time at 91ֱ��, Okulitch spoke about the profound friendships and professional connections he made, including fellow professional collaborators Rhiannon Giddens, Michael Preacely, and Limmie Pulliam, who were all at 91ֱ�� at the same time. He emphasized the focused, distraction-free environment of 91ֱ��, which allows students to fully develop their skills.</p> <p>The Richard Miller Voice Competition, along with the involvement of alumni like Okulitch, continues to build a bridge between past and present generations of vocalists. As Okulitch put it, “It’s a beautiful thing for Professor Champagne to create this competition and scholarship,” ensuring that Miller’s influence endures and inspires future generations of singers and teachers.</p></div> <div class="field field--name-field-news-type field--type-entity-reference field--label-hidden field__item">News Story</div> <div class="field field--name-field-news-date field--type-datetime field--label-hidden field__item"><time datetime="2025-02-11T12:00:00Z">Tue, 02/11/2025 - 12:00</time> </div> <div class="field field--name-field-news-author field--type-string field--label-hidden field__item">George Rogers</div> <div class="field field--name-field-news-tags field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?tag=2356">Conservatory</a></div> <div class="field__item"><a href="/news?tag=2974">Conservatory Alumni</a></div> <div class="field__item"><a href="/news?tag=3341">Conservatory Faculty</a></div> </div> <div class="field field--name-field-news-programs field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?program=35596">Voice</a></div> <div class="field__item"><a href="/news?program=32971">Opera Theater</a></div> </div> <div class="field field--name-field-news-faculty field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/salvatore-champagne" hreflang="und">Salvatore Champagne ’85</a></div> </div> <div class="field field--name-field-news-departments field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/conservatory/divisions/vocal-studies" hreflang="und">Vocal Studies</a></div> </div> <div class="field field--name-field-news-pin-school-page field--type-boolean field--label-hidden field__item">Off</div> <div class="field field--name-field-news-photo-gallery-top field--type-boolean field--label-hidden field__item">false</div> <div class="field field--name-field-news-media field--type-entity-reference field--label-hidden field__item"> </div> </article> <article> <h1>Stephanie Havey Appointed Director of 91ֱ�� Opera Theater Program</h1> <p>cstrauss — Fri, 23 Aug 2024 17:01:39 +0000</p> <span>Stephanie Havey Appointed Director of 91ֱ�� Opera Theater Program</span> <span><span>cstrauss</span></span> <span><time datetime="2024-08-23T13:01:39-04:00" title="Friday, August 23, 2024 - 13:01">Fri, 08/23/2024 - 13:01</time> </span> <div class="text-content field field--name-body field--type-text-with-summary field--label-hidden field__item"><p>Award-winning stage director <a href="/stephanie-havey">Stephanie Havey</a> has been appointed to the tenure-track position of associate professor and director of 91ֱ�� Conservatory’s <a href="/opera-theater">Opera Theater</a> program. In this role, she will teach classes and direct two fully-staged productions, performed with orchestra, each academic year. With this appointment, Havey joins the outstanding faculty of 91ֱ��'s <a href="/conservatory/divisions/vocal-studies">Vocal Studies Division</a>.</p> <p>"I have had a connection to 91ֱ�� for many years as a guest artist," says Havey. "I have always had immense respect and appreciation for the incredible instruction taking place here as well as the caliber of musicians that graduate from this program. I look forward to guiding the next generation of opera artists in developing their unique voices and to producing a wide variety of opera projects and productions that will engage with current events and interdisciplinary topics. 91ֱ�� is the ideal environment for engaging with difficult questions and varying viewpoints as we create art that is relevant and vital to our culture." </p> <p>Havey has staged numerous productions for professional opera companies across the country including the Seattle Opera, Dallas Opera, Arizona Opera, Michigan Opera Theatre, Opera Omaha, Madison Opera, New York City Opera, and Hawai’i Opera Theatre, as well as the Canadian company Opéra de Montréal. She has also created new productions for Boston Lyric Opera, the Philadelphia Orchestra, Pittsburgh Opera, Atlanta Opera, Finger Lakes Opera, Tulsa Opera, and Lyrique-en-mer International Festival de Belle-Ile in France. </p> <p>A frequent collaborator for the development of new opera, Havey has staged new works with Opera Philadelphia for their Double Exposure event, OPERA America’s New Works Forum, and spent three seasons as the Resident Stage Director for the North American New Opera Workshop. Havey is currently in development for a new work with composer Jennifer Jolley through the OPERA America Discovery Grant for Women Composers program. </p> <p>Last year, Havey directed two productions as a visiting professor at 91ֱ��. Her first outing in November 2023 was Benjamin Britten's <em>Albert Herring</em> "that was delightful and authentic in every respect. The denizens of the fictional village of Loxford all seemed to be playing themselves rather than just animating cardboard figures ordered up from central casting." (<a href="https://clevelandclassical.com/benjamin-brittens-albert-herring-at-oberlin-taking-a-comic-opera-seriously-nov-2/"><em>ClevelandClassical.com</em></a>) </p> <p>Havey says, "I especially love working on comedies. I love the way that laughter brings us all together and the way that cleverly written comedy can open our eyes to aspects of society that might be difficult to acknowledge or discuss. Social commentary and satire have long been part of the operatic tradition. I enjoy examining these historical methods of storytelling and synthesizing them with a modern perspective that is connected to the lived experience of our students and audiences in order to create meaningful productions."</p> <p>The second production in March 2024 was <a href="https://clevelandclassical.com/oberlin-opera-lorfeo-in-hall-auditorium-march-17/">Claudio Monteverdi’s musical fable <em>L’Orfeo</em></a>, performed in period musical style but staged in modern dress on a minimal set with some plot modernizations. A 25-piece instrumental ensemble—a collaboration with 91ֱ��'s Historical Performance department—included Baroque strings with theorbos, recorders, and cornetti, sackbuts, harp, harpsichord, chamber organ, and regal, performed by students with guest artists. </p> <p>For the 2024-25 academic year, Havey will direct <a href="http://calendar.oberlin.edu/event/jules-massenets-cendrillon">Jules Massenet's <em>Cendrillon</em></a> in four performances running November 7-10 and <a href="http://calendar.oberlin.edu/event/mozarts-la-finta-giardiniera">Wolfgang Amadeus Mozart's <em>La finta giardiniera</em></a>, March 6-9.</p> <p>Havey says her vision for 91ֱ�� Opera Theater is, "to foster an environment that promotes creative exploration and dialogue around advancing the operatic art form in a way that is culturally impactful. I want students to consider what stories they want to tell and to expand their views on how they might tell them. Opera is a vast art form with yet so much untapped potential. Modern composers are driving innovation through new musical styles and stories that have never been told on the operatic stage. I hope to engage with both classic and modern composers, librettists, and creatives to help our students develop their point of view as opera artists of the future." <br> </p></div> <div class="field field--name-field-news-subhead field--type-string field--label-hidden field__item">Award-winning stage director joins 91ֱ�� Conservatory's Voice Division</div> <div class="field field--name-field-news-type field--type-entity-reference field--label-hidden field__item">News Story</div> <div class="field field--name-field-news-date field--type-datetime field--label-hidden field__item"><time datetime="2024-08-23T12:00:00Z">Fri, 08/23/2024 - 12:00</time> </div> <div class="field field--name-field-news-author field--type-string field--label-hidden field__item">Cathy Partlow Strauss</div> <div class="field field--name-field-news-tags field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?tag=2356">Conservatory</a></div> <div class="field__item"><a href="/news?tag=3878">Conservatory of Music</a></div> <div class="field__item"><a href="/news?tag=3873">91ֱ�� Opera Theater</a></div> </div> <div class="field field--name-field-news-programs field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?program=32971">Opera Theater</a></div> </div> <div class="field field--name-field-news-departments field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/conservatory/divisions/vocal-studies" hreflang="und">Vocal Studies</a></div> </div> <div class="field field--name-field-news-pin-school-page field--type-boolean field--label-hidden field__item">Off</div> <div class="field field--name-field-news-photo-gallery-top field--type-boolean field--label-hidden field__item">false</div> <div class="field field--name-field-news-image-credit field--type-string field--label-hidden field__item">Courtesy of Stephanie Havey</div> <div class="field field--name-field-news-media field--type-entity-reference field--label-hidden field__item"> </div> </article> <article> <h1>Fourth Year Soprano Elizabeth Hanje Wins Houston Grand Opera's Eleanor McCollum Competition</h1> <p>cstrauss — Sat, 03 Feb 2024 23:12:42 +0000</p> <span>Fourth Year Soprano Elizabeth Hanje Wins Houston Grand Opera's Eleanor McCollum Competition</span> <span><span>cstrauss</span></span> <span><time datetime="2024-02-03T18:12:42-05:00" title="Saturday, February 3, 2024 - 18:12">Sat, 02/03/2024 - 18:12</time> </span> <div class="text-content field field--name-body field--type-text-with-summary field--label-hidden field__item"><p>After an exhaustive international search and multi-round competition, 91ֱ�� Conservatory fourth-year soprano Elizabeth Hanje has won first prize and $10,000 at the 36th Annual Eleanor McCollum Competition for Young Singers. Hanje is a student of Professor <a href="/salvatore-champagne">Salvatore Champagne</a>. </p> <p>While this is a highly anticipated vocal competition, the event also serves as a job interview for the Sarah and Ernest Butler Houston Grand Opera Studio, one of the world's most prestigious operatic training programs for young artists. Each of the young artists in the Studio has access to regular coaching sessions with industry professionals, roles in Houston Grand Opera (HGO) mainstage productions, recital performances, and other concert engagements. HGO is one of the largest, most innovative, and most highly acclaimed opera companies in the United States. </p> <p>During this past week, Hanje had the opportunity to learn more about HGO and work with company music staff in the lead up to the Concert of Arias. "I'm living my dream," she says.</p> <p>Hanje's journey to the finals began last fall. She emerged from 900 applications followed by 300 live auditions in four cities. From those early rounds, 20 singers were brought to Houston for the semifinal round of competition held on Monday, January 29. As one of the eight finalists chosen for the <a href="https://www.datocms-assets.com/95816/1706860325-coa_8-5x11in_program-final-digital.pdf">2024 Concert of Arias</a> on February 2nd, Hanje performed two works—“Il est doux, il est bon” from <em>Hérodiade</em> by Jules Massenet and “Ain't it a Pretty Night” from <em>Susannah</em> by Carlisle Floyd.</p> <p>The competition was presented for a live audience in Houston in the Wortham Theater Center and it was broadcast on Facebook Live and <a href="https://www.youtube.com/watch?v=_LevZlf1jdM%5D">YouTube Live</a>, capturing the attention of nearly 6000 online viewers. (The full finals performance video remains online. An interview with Hanje begins at 47:23, with her first aria performance immediately following. Her second aria begins at 1:22:02.) </p> <p>Born and raised in Vestavia Hills, Alabama, Hanje is the child of first generation immigrants from Tanzania, Africa. Her first musical experiences in school were as a trombonist. She played for six years in middle school and high school performing in marching band, wind ensemble, and jazz ensemble. In high school, Hanje began singing in choir where her outstanding voice was identified and she had her earliest voice lessons. She then attended Interlochen Arts Academy for her senior year of high school. In 91ֱ�� Conservatory's Opera Theater program, Hanje's lead roles have included Ernestina in <em>L’occasione fa il ladro</em>, Comedian in Matthew Recio’s <em>Puppy Episode</em>, and Lyra in Melissa Dunphy’s <em>Alice Tierney</em>. She also performed in the chorus of <em>Acis and Galatea</em>. Hanje has sung in master classes with director Michael Capasso, soprano Christine Goerke, mezzo-soprano Denyce Graves, and soprano Harolyn Blackwell. She is a winner of the 2023 Duncan Williams Voice Competition and the 2022 George Shirley Vocal Competition. In 2021, she received the Richard Miller Award for Fine Singing and a YoungArts Award. She is an alumna of HGO’s Young Artist Vocal Academy and the Des Moines Metro Opera Apprentice Program.</p> <p>Other recent 91ֱ�� alumni who have earned placement as Fellows in the HGO Butler Opera Studio during the last decade are soprano Meryl Dominguez '14 (2022-24), bass-baritone Corey McGee '18 (2020-23), and Kevin Ray '07 (2012-14).</p></div> <div class="field field--name-field-news-subhead field--type-string field--label-hidden field__item">The operatic singer emerged from 900 international applicants.</div> <div class="field field--name-field-news-type field--type-entity-reference field--label-hidden field__item">News Story</div> <div class="field field--name-field-news-date field--type-datetime field--label-hidden field__item"><time datetime="2024-02-03T12:00:00Z">Sat, 02/03/2024 - 12:00</time> </div> <div class="field field--name-field-news-author field--type-string field--label-hidden field__item">Cathy Partlow Strauss ’84</div> <div class="field field--name-field-news-tags field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?tag=2356">Conservatory</a></div> <div class="field__item"><a href="/news?tag=3878">Conservatory of Music</a></div> <div class="field__item"><a href="/news?tag=2373">Awards and Honors</a></div> </div> <div class="field field--name-field-news-programs field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?program=35596">Voice</a></div> <div class="field__item"><a href="/news?program=32971">Opera Theater</a></div> </div> <div class="field field--name-field-news-faculty field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/salvatore-champagne" hreflang="und">Salvatore Champagne ’85</a></div> </div> <div class="field field--name-field-news-departments field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/conservatory/divisions/vocal-studies" hreflang="und">Vocal Studies</a></div> </div> <div class="field field--name-field-news-image-caption field--type-string-long field--label-hidden field__item">Soprano Elizabeth Hanje, at the Houston Grand Opera's Eleanor McCollum Competition.</div> <div class="field field--name-field-news-pin-school-page field--type-boolean field--label-hidden field__item">Off</div> <div class="field field--name-field-news-photo-gallery-top field--type-boolean field--label-hidden field__item">false</div> <div class="field field--name-field-news-image-credit field--type-string field--label-hidden field__item">Michael Bishop</div> <div class="field field--name-field-news-media field--type-entity-reference field--label-hidden field__item"> </div> </article> <article> <h1>Award-winning Stage Director Stephanie Havey Talks Opera</h1> <p>cstrauss — Fri, 03 Nov 2023 21:21:20 +0000</p> <span>Award-winning Stage Director Stephanie Havey Talks Opera</span> <span><span>cstrauss</span></span> <span><time datetime="2023-11-03T17:21:20-04:00" title="Friday, November 3, 2023 - 17:21">Fri, 11/03/2023 - 17:21</time> </span> <div class="text-content field field--name-body field--type-text-with-summary field--label-hidden field__item"><p><a href="https://www.stephaniehavey.com/">Stephanie Havey</a>, 91ֱ��'s visiting assistant professor of opera theater for the 2023-24 academic year, found some time to sit down for a conversation in which she shares her thoughts about the framing of the fall opera production of <em>Albert Herring</em>, her love of working with developing singers, as well as women in leadership roles in the opera world.</p> <p><strong>What are you most excited about with the opera <em>Albert Herring</em>?</strong></p> <p>“The score for this opera is very complex and very clever. There are little hidden gems throughout the text and the orchestration that reveal that all of these characters have their own secrets. It’s such brilliant writing and I am really excited to see if the audience discovers those little moments. I have been working with the cast on how to bring that level of storytelling to the audience in a clear way, but without overselling it. It’s a subtlety, and that’s what makes good theater.”</p> <p><strong>How did your thought process and creative process impact the 91ֱ�� production of <em>Albert Herring</em>?</strong></p> <p>“When I am creating a new production, I start with research—when was the opera written and why did the composer write it. This opera premiered in 1947 and, as Britten sets it, is meant to take place in the 1920s. We decided to set our production in 1947 because we think the story is a reflection of what Benjamin Britten was noticing in society at the time. It is both social commentary and a comedy—and that’s elemental to the story. </p> <p>Another big idea that went into our framing of our production was the relationship of how adults treat children. We wanted to tell this story from Albert’s perspective. As a teenage boy, in his world, the adults are the villains or the enemies. The adult characters in this story are all the leaders of the town—you have the mayor, the vicar, the head of police—who determine what’s acceptable in society, and they have the power to reward or punish a person's behavior within the society. Albert sees these folks as his oppressors and that he can’t really be himself. We are using two objects, the clock and the lamp post, as visual symbols representing the control of the society around Albert. </p> <p>There is also the notion of an ideal love that is unattainable and unknowable to him. Personally, I think the story is about Albert’s growth as a human in the pursuit of love, and he has to learn to shed some of the restrictions society has put on him and accept himself. In finding that freedom, he is able to attain romantic love. However, it is all very ambiguous in the writing of the opera—it was the 40’s and Britten had to be very clever about what he said outright in his opera because he couldn’t just speak about his homosexuality freely at that time.</p> <p><strong>What do you hope people take away from <em>Albert Herring</em> when they see the opera?</strong></p> <p>“I think this story is about accepting oneself and loving oneself, so that one can learn to love others. Albert’s journey is about finding the confidence to accept who he is, even if that means he is different from other people. And in the end, there is a joy and a freedom that we see Albert gain, and that acceptance and that discovery of joy allows him to form bonds with the other characters. In the very last scene, we see Albert becoming friends with all of the other children. He is never friends with them until that moment.”</p> <p><strong>How are you enjoying working with 91ֱ�� Conservatory students?</strong></p> <p>“I began working with 91ֱ�� in 2016 and I have been back to campus for other events, such as a summer high school vocal program. I was really excited when they asked me to come for the year. What I love about 91ֱ�� is that the students here are unique in their curiosity and their fervor to go deeper in their work, to really get behind the why of what we are doing. As a director, it’s a dream to work with students who are actually very invested in storytelling, what are we going to communicate to our audiences, and why are we telling the story today. Also, the students’ musical excellence and musical preparation are well beyond their years. I always love working with developing singers because I think we learn together through collaboration.”</p> <p><strong>How is directing a professional opera production different from working with students?</strong></p> <p>“In the professional world, it is fairly common that the singers have performed the roles before because we repeat the same repertoire, so a lot of the artists come in the door with an expectation about how they might want to perform their character and perform their role. For example, I have done <em>Marriage of Figaro</em> and <em>Don Giovanni </em>many times, and every time we come together with a new cast it’s a completely new group dynamic, so you end up telling the story in a new way. I really enjoy collaborating with the other artists and discovering how we are going to tell a story that’s relevant to the modern day with each unique group of artists. </p> <p>With students, we still have the same aim, but the students are usually doing the roles for the first time, so there’s more of a sense of discovery. It’s a lot of fun to help them work through the process of learning the piece, learning who this character is, and seeing those moments come together in rehearsal, where the puzzle pieces fall into place. </p> <p><strong>How did you start your journey in opera directing? And, what do you recommend to someone else who is interested in that?</strong></p> <p>“My first mentor who set my opera direction was a wonderful female stage director and mentor at a public high school. Thank goodness for wonderful public school teachers and art programs! I was a performer, and she said, ‘I think you should consider directing,’ so I started directing in high school—musicals and plays—and I directed all through college while studying vocal performance. I was always finding opportunities. I did a few student-led musicals in college, and that is where I first tried my hand at directing a big production with orchestra and scenery. Then, I did some guided projects with faculty, and they had me direct some opera scenes on the scenes program, or be the assistant director for the show. After that, I got a master’s degree in opera stage directing and immediately started working. So, the best thing to do if you are interested in directing, is to create your own projects and do small student-led projects.”</p> <p><strong>What’s your advice to any aspiring women artists that are going into music or opera? </strong></p> <p>“I think it is really important for anyone going into the arts to develop a support network. As a creative in opera, you travel a lot and you work with a different company in a different city each month, and the work can be very demanding. You don’t have the same sense of community and consistency that people have when they work in the same city day in and day out. So, start developing that network while you are a student, whether it’s with a voice teacher, a coach, or other creatives in the field. And stay in contact with each other, build each other up, and be that consistency for each other.”</p> <p><strong>The role of women in leadership roles in opera is a newsworthy topic these days. What has your experience been?</strong></p> <p>“When I began my career, I did not spend a lot of time thinking about my role as a woman in the music industry…until I got the opportunity to stage an opera for the Detroit Opera. That company has been around for quite some time, and while I was there one of the singers who was in the production came up to me and said, ‘I have been singing with this opera company for over a decade, and you are the first female stage director I have ever worked with.’ She then introduced me to a crew member who had been there for decades and whose mother had been on the crew for decades before her, and they shared the exact same sentiment.</p> <p>That was in the early 2000s, and it blew my mind to think that, first, there hadn’t yet been a female director there, and second, how huge it was and what it meant to other women in the industry. There were plenty of women working in the costume shop or singing in the chorus, but not in the leadership role. So, that was a big shift in my career and artistic approach. Now, I think about the responsibility of being a woman in a leadership position. A lot of operas have a female central character, and historically they have been directed by men. Now we’re trying to take back the narratives in those stories and we’re asking what is the female character’s perspective on the opera.”</p> <p><strong>In what other leadership roles do you think women need more representation?</strong></p> <p>“In my opinion, we still see a lack of diversity on the conducting podium. While there are now efforts, such as various grants and programs to help promote women in the conducting field, that is something within the opera world where I really want to see growth. </p> <p><strong>What about creative teams—librettists and composers—who are bringing new works to the stage?</strong></p> <p>In terms of creating new works, we are repeating a lot of the same operas that have been done for hundreds of years, and mostly written by male composers and librettists. It cannot be said enough that it is time for new stories. Of course we are trying to prompt BIPOC artists to tell their stories, but a big part of that is also female stories. It is extremely rare that you have female opera composers and librettists, but there are a few significant creatives emerging in the field now. </p> <p><strong>So, we’ve been asking cast members the same question—“<em>What About Albert?</em>”</strong></p> <p>“Oh, Albert has a sweetness to him, a vulnerability, and I think he is very genuine. But he is caught in a place of wanting to please everyone around him—his mother, the elders, the town. Unfortunately, he is doing that at great sacrifice to himself. So, I think you fall in love with him for his sweetness in the beginning, but then you really root for him to grow into himself at the end.”</p></div> <div class="field field--name-field-news-subhead field--type-string field--label-hidden field__item">The conversation centers on the November production of Albert Herring and how one crafts a career in the field</div> <div class="field field--name-field-news-type field--type-entity-reference field--label-hidden field__item">News Story</div> <div class="field field--name-field-news-date field--type-datetime field--label-hidden field__item"><time datetime="2023-11-03T12:00:00Z">Fri, 11/03/2023 - 12:00</time> </div> <div class="field field--name-field-news-author field--type-string field--label-hidden field__item">Abbi Getty</div> <div class="field field--name-field-news-tags field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?tag=2356">Conservatory</a></div> <div class="field__item"><a href="/news?tag=3878">Conservatory of Music</a></div> <div class="field__item"><a href="/news?tag=3873">91ֱ�� Opera Theater</a></div> </div> <div class="field field--name-field-news-programs field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?program=32971">Opera Theater</a></div> </div> <div class="field field--name-field-news-departments field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/conservatory/divisions/vocal-studies" hreflang="und">Vocal Studies</a></div> </div> <div class="field field--name-field-news-pin-school-page field--type-boolean field--label-hidden field__item">Off</div> <div class="field field--name-field-news-photo-gallery-top field--type-boolean field--label-hidden field__item">false</div> <div class="field field--name-field-news-image-credit field--type-string field--label-hidden field__item">Courtesy of Stephanie Havey</div> <div class="field field--name-field-news-media field--type-entity-reference field--label-hidden field__item"> </div> </article> <article> <h1>91ֱ�� Opera Theater presents Benjamin Britten’s “Albert Herring” November 2-5</h1> <p>cstrauss — Mon, 23 Oct 2023 22:00:52 +0000</p> <span>91ֱ�� Opera Theater presents Benjamin Britten’s “Albert Herring” November 2-5</span> <span><span>cstrauss</span></span> <span><time datetime="2023-10-23T18:00:52-04:00" title="Monday, October 23, 2023 - 18:00">Mon, 10/23/2023 - 18:00</time> </span> <div class="text-content field field--name-body field--type-text-with-summary field--label-hidden field__item"><p>The 91ֱ�� Opera Theater is back this fall with another social commentary comedy about finding your place in the world. Benjamin Britten’s acclaimed chamber opera <a href="/events/oberlin_opera_theater_presents_brittens_albert_herring"><em>Albert Herring</em></a> will be presented in four performances, November 2 through 5, in 91ֱ�� College's Hall Auditorium.</p> <p>This comedy comes after 91ֱ�� Opera’s “wonderful” March 2023 outing of Bernstein’s dark satire, <em>Candide</em>, praised for its “several layers of brilliance” (<a href="https://clevelandclassical.com/oberlin-opera-candide-mar-12/">ClevelandClassical.com</a>). </p> <p>For <em>Albert Herring</em>, Opera Director <a href="https://www.stephaniehavey.com/">Stephanie Havey</a> is collaborating with 91ֱ�� alumnus and music director <a href="http://www.michaelsakir.com/">Michael Sakir ’06</a> to bring this opera to life. Upon his return to 91ֱ��, Sakir expresses, “it’s an honor, a joy, and in some ways, a reset for my creative spirits.”</p> <p>This production is double cast with students from 91ֱ��’s Vocal Studies Division and will be performed with the 91ֱ�� Chamber Orchestra.</p> <p>The three-act opera takes us to the year 1947 in the English village of Loxford where Albert—a timid and shy teenager—longs for change amidst the town’s preparations for the annual May Day Festival. As the search for a May Queen turns to disaster when none of the young girls are deemed virtuous enough, one contest judge asks, “What about Albert?”</p> <p>In Havey’s answer to that question, she observes, “Albert has a sweetness to him, a vulnerability, and I think he is very genuine. But, he is caught in a place of wanting to please everyone around him—his mother, the elders, the town—but he is doing that to his own detriment.”</p> <p>Havey emphasizes the opera’s commentary on the relationship of how the adults treat children. “The adult characters in this story are all the leaders of the town. You have the mayor, the vicar, the head of police, and these are all town leaders who determine what’s acceptable in society, and they have the power to reward or punish a person’s behavior within the society,” explains Havey. “And I think Albert, this teenage boy, sees these folks as his oppressors, where he can’t really be himself.”</p> <p>In a story that finds itself tangled in mischief, scandal, and adventure, Albert realizes he wants more in life.</p> <p>Havey continues, “I think you fall in love with Albert for his sweetness, in the beginning. But then you really root for him to self-actualize and give in to himself at the end.”</p> <p>The audience is left with no choice but to cheer on Albert as he discovers himself and turns the Village of Loxford upside down in the process.</p> <p>Sung in English, and with supertitles, <em>Albert Herring</em> is an opera everyone can enjoy. One is also sure to lose themselves in the ingeniously and beautifully constructed score.</p> <p>“I think comedies are so infrequently seen on the opera stage and this one is truly hilarious,” remarks Sakir. “If we do our job right, the audience will laugh, and laugh hard! And secondly, I hope they have a deeper appreciation of Britten’s mastery of storytelling through music.”</p> <p>Showtimes are 8 p.m. for the Thursday, Friday, and Saturday performances, November 2 through 4; a 2 p.m. matinee will be performed on Sunday, November 5.</p> <p>Reserved seating is $10, with discounted $8 tickets available for senior citizens and 91ֱ�� faculty, staff, alumni, and students. Tickets may be <a href="/tickets/event-details?EventId=10801">purchased online</a>, by calling 800-371-0178, or by visiting the 91ֱ�� College Central Ticket Service weekdays from 12-5 p.m.</p></div> <div class="field field--name-field-news-subhead field--type-string field--label-hidden field__item">Opera director Stephanie Havey and conductor Michael Sakir ’06 make their 91ֱ�� debuts.</div> <div class="field field--name-field-news-type field--type-entity-reference field--label-hidden field__item">News Story</div> <div class="field field--name-field-news-date field--type-datetime field--label-hidden field__item"><time datetime="2023-10-23T12:00:00Z">Mon, 10/23/2023 - 12:00</time> </div> <div class="field field--name-field-news-author field--type-string field--label-hidden field__item">Abbi Getty</div> <div class="field field--name-field-news-tags field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?tag=2356">Conservatory</a></div> <div class="field__item"><a href="/news?tag=3878">Conservatory of Music</a></div> <div class="field__item"><a href="/news?tag=3873">91ֱ�� Opera Theater</a></div> </div> <div class="field field--name-field-news-programs field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?program=35596">Voice</a></div> <div class="field__item"><a href="/news?program=32971">Opera Theater</a></div> </div> <div class="field field--name-field-news-departments field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/conservatory/divisions/vocal-studies" hreflang="und">Vocal Studies</a></div> <div class="field__item"><a href="/conservatory/divisions/conducting-and-ensembles" hreflang="und">Conducting and Ensembles</a></div> <div class="field__item"><a href="/conservatory/divisions/strings" hreflang="und">Strings</a></div> <div class="field__item"><a href="/conservatory/divisions/winds-brass-and-percussion" hreflang="und">Winds, Brass, and Percussion</a></div> </div> <div class="field field--name-field-news-image-caption field--type-string-long field--label-hidden field__item">In the opera “Albert Herring” the concept of time is constantly referenced: “Time is racing us around the clock...youth must hurry at headlong pace.”</div> <div class="field field--name-field-news-pin-school-page field--type-boolean field--label-hidden field__item">Off</div> <div class="field field--name-field-news-photo-gallery-top field--type-boolean field--label-hidden field__item">false</div> <div class="field field--name-field-news-image-credit field--type-string field--label-hidden field__item">Nicole Slatinsky</div> <div class="field field--name-field-news-media field--type-entity-reference field--label-hidden field__item"> </div> </article> <article> <h1>Rhiannon Giddens ’00 Wins 2023 Pulitzer Prize for Music</h1> <p>azaleski — Fri, 12 May 2023 17:59:10 +0000</p> <span>Rhiannon Giddens ’00 Wins 2023 Pulitzer Prize for Music</span> <span><span>azaleski</span></span> <span><time datetime="2023-05-12T13:59:10-04:00" title="Friday, May 12, 2023 - 13:59">Fri, 05/12/2023 - 13:59</time> </span> <div class="text-content field field--name-body field--type-text-with-summary field--label-hidden field__item"><p>Multifaceted musician and 2000 91ֱ�� Conservatory alumna Rhiannon Giddens and composer Michael Abels won the <a href="https://www.pulitzer.org/winners/rhiannon-giddens-and-michael-abels">2023 Pulitzer Prize for Music</a> for their opera <em>Omar</em>, an honor announced on May 8. The work, which premiered May 27, 2022, at the Spoleto Festival in Charleston, South Carolina, is based on the autobiography of the West Africa-born Muslim scholar Omar Ibn Said, who was sold into slavery in 1807.</p> <p>Giddens wrote the libretto for <em>Omar</em>, which is described on the Pulitzer website as “a musical work that respectfully represents African as well as African American traditions, expanding the language of the operatic form while conveying the humanity of those condemned to bondage.” </p> <p>The premiere performance was conducted by John Kennedy, a 1982 91ֱ�� Conservatory alum and the festival’s resident conductor and director of orchestral activities. </p> <p><em>Omar</em> reflects Giddens’ rigorous approach to her work. “I’ve always been interested in history,” she said during an <a href="/news/rhiannon-giddens-american-tunes">interview for the Winter 2023 <em>91ֱ�� Alumni Magazine</em></a>. “It was one of the things I liked about opera. Whenever I got a role, I would go research why they wrote the opera, the story that the opera’s based on, the time period.”</p> <p>At 91ֱ��, Giddens trained as an opera singer under Marlene Rosen. The professor specifically chose the promising young musician to be part of her studio. “I watched an opera on TV,” Giddens said, describing what drew her to the musical form. “Literally, I’d never seen an opera. I bought an opera compilation CD with [Placido] Domingo and people like that on it, and that’s all I knew of opera. I just knew they sang all the time, and in musical theater they had to talk on stage. And I was like<em> I hate speaking in public, so I’m gonna go with opera</em>.”</p> <p>After graduating from 91ֱ��, Giddens moved back home to North Carolina, where she started contra dancing and expanded her musical palette by taking up banjo and fiddle and, eventually, forming the Grammy-winning Carolina Chocolate Drops.</p> <p>Today, Giddens is maintaining her usual busy schedule. That includes creating a 10-part video series about the banjo on Wondrium and hosting a new PBS series called <a href="https://r20.rs6.net/tn.jsp?f=001hpbhvPDB-ggEEt5o4PAi7VLRGnpmv1lhHm9Q2UY_wn1Y7z0Vc3c1rl23Rckwx-W5xleUBGyjQp0SMwGJ0D7FJyLSl9HmrxVr6HtjEzlzyXO5PMiB9XfBYdt8_biRcjL8rdXC1XVyAgeeC3a0YVEcyDImKfI1XHvbENINK0Tq2osSBN02E67_Qse7BH0ohKQp&c=1Vue6WaE4F-ZhM7NPWvGcmd0tICf3a3GhLeGcW_jlnrtOUBuxI2BxA==&ch=cHMela7e7bWUn6AyfqzEt8GGERJsQkf3GOkdiqn69n7IYPNHCiLFjQ=="><em>My Music</em></a>. She’s also serving as the 2023 Ojai Festival Music Director, which takes place June 8 to 11. The festival features the world premiere of <em>Omar’s Journey</em>, <a href="https://www.ojaifestival.org/2023-festival-schedule/">described</a> as an “Ojai-commissioned work for voices and chamber ensemble drawn from <em>Omar</em>” and “framed by traditional music that traces the journey of the real-life Omar Ibn Said from Senegal to the Carolinas.” Among the soloists taking part is tenor and fellow 91ֱ�� alum <a href="https://www.npr.org/2023/01/21/1150548950/opera-singer-tenor-limmie-pulliam-reflects-on-his-carnegie-hall-debut-at-the-age">Limmie Pulliam ’98</a>.</p> <p>The day after Giddens received the Pulitzer Prize, she announced her first solo album in six years, <em>You’re the One</em>, out August 18 on Nonesuch Records. Produced By Jack Splash (Alicia Keys, Solange), the album is her first collection of original songs and was <a href="https://youtu.be/o7-o13fK4p4">introduced with the title track</a>, a song inspired by her son. </p> <p>The Pulitzer Prizes, which were named after the journalist and newspaper publisher Joseph Pulitzer, are one of the most prestigious honors awarded to writers and artists. Pulitzers were first awarded in 1917, with the first prize for music—which awards $15,000 for a “distinguished musical composition by an American that has had its first performance or recording in the United States during the year”—was given out in 1943. </p> <p>In addition to Giddens, other Pulitzer Prize winners who have graduated from 91ֱ�� include:</p> <ul> <li>George Walker ’41, (1996 Pulitzer Prize for Music)</li> <li>Michael Dirda ’70 (1993 Pulitzer Prize for Criticism)</li> <li>Vijay Seshadri ’74 (2014 Pulitzer Prize for Poetry)</li> <li>Franz Wright ’77 (2004 Pulitzer Prize for Poetry)</li> <li>Emily Nussbaum ’88 (2016 Pulitzer Prize for Criticism)</li> <li>Du Yun ’01 (2017 Pulitzer Prize for Music)</li> </ul></div> <div class="field field--name-field-news-subhead field--type-string field--label-hidden field__item">Singer, multi-instrumentalist, and composer honored for the historical opera “Omar.”</div> <div class="field field--name-field-news-type field--type-entity-reference field--label-hidden field__item">News Story</div> <div class="field field--name-field-news-date field--type-datetime field--label-hidden field__item"><time datetime="2023-05-12T12:00:00Z">Fri, 05/12/2023 - 12:00</time> </div> <div class="field field--name-field-news-author field--type-string field--label-hidden field__item">Annie Zaleski</div> <div class="field field--name-field-news-tags field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?tag=2368">Alumni</a></div> <div class="field__item"><a href="/news?tag=2583">College of Arts and Sciences</a></div> <div class="field__item"><a href="/news?tag=2373">Awards and Honors</a></div> <div class="field__item"><a href="/news?tag=2356">Conservatory</a></div> </div> <div class="field field--name-field-news-programs field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?program=35596">Voice</a></div> <div class="field__item"><a href="/news?program=32971">Opera Theater</a></div> </div> <div class="field field--name-field-news-departments field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/conservatory/divisions/vocal-studies" hreflang="und">Vocal Studies</a></div> </div> <div class="field field--name-field-news-pin-school-page field--type-boolean field--label-hidden field__item">Off</div> <div class="field field--name-field-news-photo-gallery-top field--type-boolean field--label-hidden field__item">false</div> <div class="field field--name-field-news-image-credit field--type-string field--label-hidden field__item">Ebru Yildiz</div> <div class="field field--name-field-news-media field--type-entity-reference field--label-hidden field__item"> </div> </article> </main></body></html>