Keturah speaks with librettist and producer, Cerise Jacobs, and director and playwright, Lillian Groag. As Keturah says, “On the surface, these women couldn’t be more different, both in the type of work they make, and in their approach to putting work on stage. What made me think of them as a perfect pairing for this episode is in the way they convey their thoughts, the strength of their conviction, and the absolute tenacity with...
Keturah begins this episode chatting with General Director of Palm Beach Opera and former countertenor, David Walker (https://pbopera.org/about-us-2/general-director/). They discuss the aria Voi Che Udite (Here’s a link of David singing this aria on a set by John Conklin: https://youtu.be/cEQy5sfbs68 ) from Handel and Calzabigi’s Agrippina. They also talk about the pangs of leaving performing, and briefly touch on Akhnaten, Part...
In this episode, Keturah speaks with singers, composers, and directors about the words and collaborative spirit of librettist, Gene Scheer.
In order of appearance:
Efrain Solis (https://www.efrainsolis.com/)
Frederica Von Stade (http://www.fredericavonstade.com/)
Emily Fons (https://www.emilyfons.com/)
Jonathan Lemalu (https://jonathanlemalu.com/)
Morgan Smith (https://www.baritonemorgansmith.com/)
Stephen Costello (https://stephencostell...
Keturah begins this episode chatting with baritone, Zachary Nelson (http://www.zacharynelsonbaritone.com/), who speaks with her about Mozart and DaPonte’s Le nozze di Figaro, the Beaumarchais plays, and their tie to the French Revolution. You can read more about these connections here: https://www.theguardian.com/music/2006/jan/06/classicalmusicandopera,
and here: https://sfopera.com/blog/the-marriage-of-figaro-fomenting-the-frenc...
Keturah speaks with Ricky Ian Gordon about how he collaborates with multiple composers, as well as compositions for which he has written the libretto.
The episode begins with clips from last season: Michael Korie discussing how Ricky helped convince him to collaborate on The Grapes of Wrath (https://www.buzzsprout.com/1180661/5613223), and Leonard Foglia talking about Ricky’s phrase “Boil it down to stock,” and how it helped him as...
This episode begins with a short interview with Dutch soprano, Eva Maria Westbroek (https://www.evamariawestbroek.com/). She and Keturah talk about Eva’s creation of the title role in Mark Anthony Turnage (https://www.boosey.com/pages/cr/composer/composer_main?composerid=16405&ttype=BIOGRAPHY) and Richard Thomas’ (https://www.richardthomascreative.com/) opera, Anna Nicole, which premiered at Covent Garden in 2011.
We start out this episode with a short quip from Mezzo-soprano, Emily Fons, talking about not waiting for the ideal moment to create. (https://www.emilyfons.com/).
Next, is a brief interview with San Francisco based conductor and prompter, Robert Mollicone (https://www.robertmollicone.com/). We discuss the ending of Offenbach and Barbier’s Les Contes d’Hoffmann, and how it relates to the paralysis so many artists have felt while t...
Keturah starts her Second Season talking to a myriad of singers, conductors, and directors about how opera text affects them.
Sound bites from:
In the season 1 finale, Keturah speaks with Canadian playwright and librettist, Anna Chatterton about her operas Stitch, and Sweat (about the garment industry), Crush, and Swoon (Da Ponte/Mozart adaptations), and Rocking Horse Winner, as well as surviving as an artist during Covid19, and the joys of adapting work for the stage.
More information about Anna Chatterton and her work can be found here: https://www.ludwig-van.com/toronto/...
Keturah speaks with English director, librettist, and composer, Anna Pool. They discuss her love of musical theater, her work with devised work, puppetry, and multi-sensory work, and how the commissioning process could be more open.
Keturah talks about her work on San Diego Opera’s reimagined La Bohéme, and how the circumstances surrounding Covid 19 forced her and the singers to look at the piece in a completely different way. She also interviews librettist, Jerre Dye, about his life in Chicago, his work with Frances Pollock at Chautauqua, and working with Zachary Redler, Kamala Sankaram, and Jennifer Higdon.
Keturah speaks with librettist and journalist David Cote, about his works, including Blind Injustice, Three Way, the Scarlet Ibis, and Invitation to a Die-In. They also discuss the hardships of getting work produced, and how this differs in the opera world and theater world.
Keturah speaks with composer, librettist, and double bassist, Emily Koh about her upcoming opera, Her: Alive/Un/Dead, and writing words AS music.
Keturah speaks with librettist and teacher, Jessica Murphy Moo. They discuss her two operas, Earth to Kenzie and An American Dream, the pitfalls and joys of writing a children’s opera, how composer Frances Pollock convinced her to rhyme, and the differences between teaching fiction writing and libretto writing.
In this second BONUS episode, Keturah speaks with librettist, Matt Boresi, about The Decameron Opera Coalition, which was put together by him and composer, Peter Hilliard. Joining Boresi are three librettists from the coalition, John de los Santos, Gilda Lyons, and Deborah Brevoort. They discuss their roles in the upcoming serial piece “Tales From A Safe Distance,” and how people can access the performances. Also, CORRECTION: Th...
Keturah speaks with Lyricist and Librettist, Michael Korie, about his musicals and operas over the years, his thoughts on politics and art, and writing about real people.
Keturah chats with author, activist, and librettist, Lorene Cary. They discuss her memoir, Ladysitting, her work at Art Sanctuary and Vote The Jawn, and her experience at ALT’s Composer Librettist Development Program.
Keturah sits down with Lawrence Edelson, founder of the American Lyric Theater, and Artistic Director of Opera Saratoga. They discuss the Composer Librettist Development Program (CLDP), what makes a good librettist, the art of dramaturgy, and creating new opera in America.
Keturah speaks with librettist and director, Leonard Foglia about directing new work, working with Ricky Ian Gordon, Jake Heggie, Gene Scheer, and Horton Foote, working as a dramaturge on Moby-Dick, and writing/creating the genre of the Mariachi Opera.
Keturah has a conversation with librettist, Lila Palmer, about a number of her operas, including Dead Equal and The Selfish Giant. She also ruminates about the recent announcement of CAMI’s imminent closing, and the state of the arts today.