The Glitch

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lennygoran
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The Glitch

Post by lennygoran » Thu Feb 04, 2021 7:33 am

Got this email but haven't had a chance to watch it. Regards, Len

Dear Friends of Catapult,


I am thrilled to announce that Catapult Opera’s production of the first in its series of video micro-opera commissions can now be viewed at catapultopera.org . With its complex characters, brilliant score by Nico Muhly and libretto by Greg Pierce; its exquisite, honest performances by Krysty Swann, Lester Lynch, and Adam Tendler; and its affecting direction by Marcus Shields; I am extremely proud of The Glitch. It proves that one does not need a huge, lavish production to create meaningful opera: just beautiful music and characters with whom one can empathize.



Our upcoming commissions are of approximately the same scale as The Glitch, but are composed by singer-songwriters from outside the opera world. Each was assigned to compose the score for a video micro-opera of 15-20 minutes in length that they consider “operatic”, whatever that means to them. Some have informed me that their creation would run closer to 30 minutes, while others have responded that theirs would run closer to 5 minutes. My response has been that the length must be determined by their inspiration. The goal of the series of commissions is to spark conversation about what opera can be in today’s world and influence its development as an art form for our time and the future.



If you enjoy The Glitch, I hope that you will support Catapult in launching the future of opera.

Neal Goren, Founding Artistic Director
Catapult Opera


SUPPORT CATAPULT OPERA



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maestrob
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Re: The Glitch

Post by maestrob » Thu Feb 04, 2021 10:16 am

Intriguing, I must say. Still, I'm not sure if I'll actually partake.....

lennygoran
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Joined: Tue Mar 27, 2007 9:28 pm
Location: new york city

Re: The Glitch

Post by lennygoran » Fri Feb 05, 2021 11:09 am

maestrob wrote:
Thu Feb 04, 2021 10:16 am
Intriguing, I must say. Still, I'm not sure if I'll actually partake.....
Brian yeah-I haven't listened to it yet-too much else to do-one extra task is a little snow shoveling. Regards, Len :(

maestrob
Posts: 10149
Joined: Tue Sep 16, 2008 11:30 am

Re: The Glitch

Post by maestrob » Fri Feb 05, 2021 11:16 am

lennygoran wrote:
Fri Feb 05, 2021 11:09 am
maestrob wrote:
Thu Feb 04, 2021 10:16 am
Intriguing, I must say. Still, I'm not sure if I'll actually partake.....
Brian yeah-I haven't listened to it yet-too much else to do-one extra task is a little snow shoveling. Regards, Len :(
OMG, Len! Please take it easy with the shoveling! Don't you have a neighborhood kid you can call? Really! :!:

lennygoran
Posts: 16773
Joined: Tue Mar 27, 2007 9:28 pm
Location: new york city

Re: The Glitch

Post by lennygoran » Fri Feb 05, 2021 12:15 pm

maestrob wrote:
Fri Feb 05, 2021 11:16 am
OMG, Len! Please take it easy with the shoveling! Don't you have a neighborhood kid you can call? Really! :!:
Brian thanks-right now we don't know anyone but it sure would be nice. Regards, Len

lennygoran
Posts: 16773
Joined: Tue Mar 27, 2007 9:28 pm
Location: new york city

Re: The Glitch

Post by lennygoran » Sat Mar 20, 2021 4:09 pm

More from Catapult


Dear Friends of Catapult Opera,



Since you last heard from me a month ago, things have really begun cooking at Catapult Opera. As you know, the reception for our first video micro-opera commission, The Glitch by Nico Muhly and Greg Pierce, has been uniformly enthusiastic. I have heard the first draft of the music for our second commission by Celisse Henderson, and I am thrilled to report that it is a work of profound beauty and, I would venture to say, genius. It is everything I had hoped for and more. We will post it in its final version in the coming months, and I will give you fair warning of its arrival. I promise that it will be well worth the wait.


In the intervening months, we will continue to post interviews with leading opera industry experts on subjects of particular relevance to aspiring opera singers and for those interested in gaining the insider’s perspective to acquire a better understanding of the requirements of having a career in an ever-evolving industry. As our Opera Stimulate initiative, the interviews presently available for viewing are with Joshua Winograde, the Senior Director of Artistic Programming at the Los Angeles Opera; with Thomas Lausmann, the director of Music Administration at the Metropolitan Opera and the former Head of Music for the Vienna State Opera; and with Michael Heaston, the Artistic Administrator of the Metropolitan Opera. These interviews can be seen here: https://www.catapultopera.org/beyond-the-craft . An interview with me about my new book, Beyond the Aria: Self-Empowerment for the Classical Singer, in addition to a remote mini-master class I gave, can also be found there.

As a high school student, I subscribed to The New Yorker Magazine because of its quality, in-depth music reporting. Because of this long history, I was particularly proud that Catapult has received mention there twice in the last month. The first was a highly-complimentary announcement of the posting of The Glitch; and in this week’s edition Alex Ross mentioned our plans to present the U.S. premiere of Nadia Boulanger’s opera La ville morte. I see the imprimatur of this eminent periodical as a confirmation that we are on the right track.



In light of the broad availability of the COVID vaccine in the greater NYC area, it is now possible to begin planning for our live performances to commence in spring 2022. We hope to make a detailed public announcement soon.
INTRODUCTIONS
ANDREA MILLER, PRESIDENT OF THE BOARD

In order to have our house in order well in advance of our public performances, we have begun to assemble our Founding Board of Directors. I am thrilled to announce that Andrea Miller has consented to serve as the first President of our Board. A native of Delaware, Ms. Miller earned her B.A. at Yale and her M.A. in Fine Arts at Harvard University. She is an equal-opportunity consumer of culture and has gained acclaim as a producer of documentary films and television shows that cover an astonishingly wide range of material, from Particle Fever (a prize-winning documentary about particle physics) to Pee Wee’s Playhouse. She has lived in Paris, Hong Kong, and Tokyo, and currently resides in Manhattan. She has served on the boards of Independent Curators International, The Flea Theater and Musical Theatreworks (an incubator of new musicals), among others, and is particularly passionate about contemporary opera.

As her first act as Board President, Ms. Miller and I together tinkered with Catapult’s Mission Statement to ensure it reflects our active initiatives and cover what we believe lies ahead for Catapult for the foreseeable future:
To support innovative creators and practitioners, create emotionally impactful operatic content, and communicate the power of opera through unique, world-class live productions. In addition, Catapult Opera is committed to exploring points of intersection between opera and other musical genres through film for its numerous platforms with the goal of developing new audiences for opera.

CYNTHIA HENNON MARINO, EXECUTIVE DIRECTOR

I am also thrilled to announce Cynthia Hennon Marino as Catapult’s new Executive Director. Ms. Marino comes to us by way of Teatro Nuovo (where she will continue to act as Director of Productions for their summer productions). She has spent the last 15 years working as a Production Stage Manager and Production Manager/Supervisor at companies such as Death of Classical, Opera Philadelphia, Opera Omaha, Boston Lyric Opera, San Diego Opera, and Tri-Cities Opera (where she was Director of Production) to name a few. Her passion is working on new works, modern retelling of traditional works, found spaces, and pushing the boundaries of what is considered "Opera". Ms. Marino has an MFA in Technical Theatre and Production with an emphasis in Stage Management from the University of CIncinnati, College Conservatory of Music and serves on the Board of the Stage Managers' Association where she is the Recording Secretary.

She succeeds Marcus Shields, who has graciously offered to stay on with Catapult in a part-time capacity as our Digital Projects Manager.

We thank our present and future supporters who enable Catapult Opera to launch the future of opera.


Neal Goren
Founding Artistic Director
Catapult Opera
SUPPORT CATAPULT OPERA
Copyright © 2021 Catapult Opera, All rights reserved.


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Lance
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Re: The Glitch

Post by Lance » Sun Mar 21, 2021 12:45 am

I was pleased to see Tri-Cities Opera listed below as one of Cynthia Hennon Marino's sources of work. Tri-Cities Opera is our very long operating company (since 1949) right here in Binghamton, New York! [Just a plug for Binghamton from yours truly.]

CYNTHIA HENNON MARINO, EXECUTIVE DIRECTOR

I am also thrilled to announce Cynthia Hennon Marino as Catapult’s new Executive Director. Ms. Marino comes to us by way of Teatro Nuovo (where she will continue to act as Director of Productions for their summer productions). She has spent the last 15 years working as a Production Stage Manager and Production Manager/Supervisor at companies such as Death of Classical, Opera Philadelphia, Opera Omaha, Boston Lyric Opera, San Diego Opera, and Tri-Cities Opera (where she was Director of Production) to name a few.
Lance G. Hill
Editor-in-Chief
______________________________________________________

When she started to play, Mr. Steinway came down and personally
rubbed his name off the piano. [Speaking about pianist &*$#@+#]

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maestrob
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Joined: Tue Sep 16, 2008 11:30 am

Re: The Glitch

Post by maestrob » Sun Mar 21, 2021 8:06 am

Lance wrote:
Sun Mar 21, 2021 12:45 am
I was pleased to see Tri-Cities Opera listed below as one of Cynthia Hennon Marino's sources of work. Tri-Cities Opera is our very long operating company (since 1949) right here in Binghamton, New York! [Just a plug for Binghamton from yours truly.]

CYNTHIA HENNON MARINO, EXECUTIVE DIRECTOR

I am also thrilled to announce Cynthia Hennon Marino as Catapult’s new Executive Director. Ms. Marino comes to us by way of Teatro Nuovo (where she will continue to act as Director of Productions for their summer productions). She has spent the last 15 years working as a Production Stage Manager and Production Manager/Supervisor at companies such as Death of Classical, Opera Philadelphia, Opera Omaha, Boston Lyric Opera, San Diego Opera, and Tri-Cities Opera (where she was Director of Production) to name a few.
Lance, I had several young singers audition for me with roles sung with Tri-Cities Opera on their resumes.

One Black soprano by the name of Del Fionn Sykes won Second Prize with her rendition of Depuis le jour..." and an aria from Turandot, which I believe you have on CDII that I sent you a while back. It's the first aria on the disc. She had an incredible lushly beautiful tone to her voice that really inspired praise from my judges. I remember how thrilled she was to win! She went on to have a career in musical theater, IIRC.

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