Meeting Schedule

Total Page:16

File Type:pdf, Size:1020Kb

Meeting Schedule BOARD OF DIRECTORS FALL MEETING NOVEMBER 2-4, 2012 Rosewood Crescent Court Hotel 400 Crescent Court Dallas, Texas MEETING SCHEDULE Friday, November 2 • 12:00 noon-1:30 p.m. – Governance Committee (lunch will be served) • 1:30-3:00 p.m. – Membership Committee • 3:00-4:00 p.m. – Information and Learning Services Committee • 4:00–4:30 p.m. – New Board Member Orientation • 5:45 p.m. – Bus departs hotel for Fort Worth • 6:30 p.m. – Tour of Bass Hall • 7:00-9:30 p.m. – Reception and dinner at Grace Restaurant • 9:30 p.m. – Bus returns to the hotel Wednesday, June 13 • 9:00-10:30 a.m. – Finance Committee • 10:30 a.m.-12:00 noon – Artistic Services Committee • 12:00 noon-12:45 p.m. – Board of Directors Lunch • 12:45-3:30 p.m. – Board of Directors Meeting • 4:30 p.m. – Bus departs hotel for the Winspear Opera House • 4:45 p.m. – Backstage tour of the Winspear Opera House • 5:30 p.m. – Dinner at the Winspear Opera House • 7:30 p.m. – The Dallas Opera performance of Aida at Winspear Opera House Sunday, November 4 • 9:45 a.m. – Bus departs hotel for the Cerny home • 10:00 a.m. – Brunch at the home of Keith and Jennifer Cerny • 11:30 a.m. – Bus returns to the hotel Additional Information Opera Tickets: If you purchased tickets for Aida, they will be distributed Saturday evening at the Winspear Opera House Dinner. Meeting Attire: The dress for committee meetings, the board of directors meeting and Sunday brunch is business casual; dinners and performances are business attire. Meeting Hotel: Meetings will take place in the Rosewood Crescent Court Hotel (400 Crescent Court, Dallas, TX 75201, t: 214-871-3200). Next Meeting: The winter 2013 board meeting is scheduled for February 21-24, 2013 in New York City. Please mark your calendar. OPERA AMERICA BOARD COMMITTEE ASSIGNMENTS (updated 9/2012) Name Artistic Finance Governance Information & Membership Strategy Services Learning Services David Bennett X CHAIR X (Vice-Chairman) Daniel Biaggi X X X J.A. Blanchard X X X Gregory Carpenter X X Keith Cerny CHAIR Rena M. De Sisto X David B. Devan X CHAIR X James Feldman X William Florescu X X Allen R. Freedman X X Anthony Freud X Christopher Hahn X X X Jake Heggie X Carol F. Henry X X Barbara Leirvik X Jay Lesenger X X Frayda Lindemann EX EX EX EX EX EX (Chairman) OFFICIO OFFICIO OFFICIO OFFICIO OFFICIO OFFICIO W.R. (Bob) McPhee X X Andreas Mitisek X Susan Morris X X Esther Nelson Kevin Newbury X X Timothy O’Leary CHAIR X (Treasurer) Kenneth G. Pigott X X Norman Ryan X X Marc A. Scorca EX EX EX EX EX EX (President/CEO) OFFICIO OFFICIO OFFICIO OFFICIO OFFICIO OFFICIO Gregory Swinehart X X X Stephen Trampe X (Vice-Chairman) Alec Treuhaft X X Frederica von Stade X X Darren K. Woods CHAIR X X (Vice-Chairman) James Wright X CHAIR (Secretary) Francesca Zambello X MEETING OF THE BOARD OF DIRECTORS Saturday, November 3, 2012 12:45 – 3:30 p.m. Rosewood Crescent Court Hotel Dallas, Texas AGENDA 1. Welcome and Introductions 2. Approval of the Minutes of the Meeting of June 14, 2012 Tab 1 3. Report of the Chairman Report of the President 4. Finance Report Tab 2 5. Opera Center Report Tab 3 6. Governance Report Tab 4 7. Committee Reports Tab 5 A. Artistic Services B. Information and Learning Services • Information, Research and Technology • Learning Services and Community Engagement • Marketing and Communications C. Membership • Opera.ca • Opera Europa • Trustee Services • Development 8. Government Affairs Tab 6 9. Upcoming Meetings Tab 7 10. Other Business 11. Adjournment MINUTES OF THE SPRING 2012 BOARD OF DIRECTORS MEETING DOUBLETREE CENTER CITY HOTEL PHILADELPHIA, PENNSYLVANIA JUNE 14, 2012 Board Members Present: David Bennett, J.A. (Gus) Blanchard, Keith Cerny, David Devan, Allen Freedman, Anthony Freud, Jay Lesenger, Frayda B. Lindemann, Charles MacKay, W.R. (Bob) McPhee, Ken Pigott, Norman Ryan, Steven Sharpe, Steve Trampe, Darren K. Woods, James Wright Board Members Absent: Greg Carpenter, Rena De Sisto, Peter Gelb, David Gockley, Jake Heggie, Carol Henry, Andreas Mitisek, Kevin Newbury, Timothy O’Leary, Gregory Swinehart, Alec Treuhaft, Frederica von Stade Staff Present: Marc A. Scorca, Larry Bomback, Laura Day Giarolo, Laura Lee Everett, Brandon Gryde, Stephanie Helms, Kevin Sobczyk By Invitation: Larry Desrochers, Christina Loewen, Nicholas Payne 1. Welcome and Introductions Anthony Freud welcomed everyone to the meeting and thanked David B. Devan and Opera Company of Philadelphia for hosting the Board Dinner and the Opera Conference. 2. Approval of the Minutes of the Meeting of February 25, 2012 There were no corrections to the February 25 meeting minutes. A motion to approve the minutes was made, seconded and unanimously approved. 3. Report of the Chairman/Report of the President Report of the Chairman: Anthony reminded board members this meeting would be his last as chairman. He remarked on how different the world was when he was elected in Denver in 2008. Changes that began four years ago are not going away, and as civic institutions, opera companies cannot simply wait for the world to return to normal. The world has redefined normal, and OPERA America needs to respond to that redefinition. OPERA America’s Strategic Plan has led to the development of the National Opera Center, which created a new normal from which the organization can look forward, refine and redefine how best to be of service to members, the art form and the industry as a whole. Anthony remarked that while the Opera Center is on everyone’s minds, the board reports demonstrate that OPERA America is much more than the Opera Center. It is extraordinary how much the OPERA America team has been able to accomplish, and he thanked Marc and the staff for their hard work as the organization moves toward the opening of its new facility. Report of the President: Marc echoed Anthony’s thanks to the OPERA America staff. Marc said that it is a particularly pressured time at OPERA America. Following the conference, the focus will shift immediately to the Opera Center opening. The office move is scheduled for August 20. The staff is onsite in the Opera Center every day to review progress and is Tab 1 – June 14 2012 Meeting Minutes Page 1 fundraising intensively in advance of the opening weekend. It will be a very busy summer, and Marc is very appreciative of the OPERA America staff and for their good spirits. Marc continued with a summary of the Strategy Committee meeting that took place in February in association with the winter board of directors meeting: A. Coordinating Communications: Committee members felt that OPERA America could do more to change perceptions of opera, akin to the way some trade associations do for their industry’s products. OPERA America has coordinated National Opera Week for several years, and just received confirmation on Monday that the event will have its first-ever Honorary Chair in 2012, Aretha Franklin. Ms. Franklin will do interviews and her vocal competition will announce finalists during National Opera Week. Having someone like Ms. Franklin involved in the project will make it easier to get high-profile Honorary Chairs in the coming years. B. Research: Committee members asked OPERA America to continue to collect data and also conduct research projects in which members might participate as investors. OPERA America is looking to partner with academic institutions and members to determine what kinds of data would be helpful for further analysis. C. Innovation and Experimentation: Over the last decade, audience behavior has changed dramatically, and committee members expressed a need to test more strategies, evaluate and distribute best practices in audience development. OPERA America came out of the Strategy Committee meeting with a charge to look at how funds could be apportioned for such a project. Serendipitously, at the end of April, Marc received notice of funding from the Ann and Gordon Getty Foundation for $1.5 million over three years in support of experimentation in Audience Development. The project will launch with the joint convening of the Marketing Forum and Education Forum at the National Opera Center and will include opportunities for member companies to apply for grants of $20,000 to $40,000 to test new audience development strategies. The Foundation has made a similar commitment to the League of American Orchestras, and OPERA America and the League are now looking into how far these programs can overlap so that both fields can learn from one another. The project will be overseen by both the Education and Marketing departments, and a project manager will be hired to function as a general assistant for professional development programs and marketing and communications. In addition, audience development grants that are currently part of the Opera Fund will now be overseen by this project manager. 4. Finance Report Marc passed along greetings and best wishes for a good conference from Finance Committee Chair Timothy O’Leary, who was in production at Opera Theatre of Saint Louis. Marc reported that the committee meeting was spirited, and in spite of the revenue for the Annual Conference being $20,000 under goal, the review of FY12 showed a budget that is headed toward being balanced. OPERA America staff is pressing forward with Annual Fund and PCM dues renewals in the final weeks of the fiscal year. Tab 1 – June 14 2012 Meeting Minutes Page 2 Marc noted some variances on the expense side in the FY13 core operations budget, but told Board members that the big unknown is the Opera Center operating budget.
Recommended publications
  • The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf
    ! " #$ % $%& $ '()*) & + & ! ! ' ,'* - .& " ' + ! / 0 # 1 2 3 0 ! 1 2 45 3 678 9 , :$, /; !! < <4 $ ! !! 6=>= < # * - / $ ? ?; ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-$=/-%# & # % %:>9? /- @:>9A4& )*5/ +) "3 " & :>9A 1 The Piano Teaching Legacy of Solomon Mikowsky by Kookhee Hong New York City, NY 2013 2 TABLE OF CONTENTS Preface by Koohe Hong .......................................................3 Endorsements .......................................................................3 Comments ............................................................................5 Part I: Biography ................................................................12 Part II: Pedagogy................................................................71 Part III: Appendices .........................................................148 1. Student Tributes ....................................................149 2. Student Statements ................................................176
    [Show full text]
  • Accessibility for the Scenic Arts Tesis Doctoral
    UNIVERSITAT AUTÒNOMA DE BARCELONA CaiaC (Centre d’Accessibilitat i Intel·ligència Ambiental de Catalunya) Departament de Traducció i Interpretació Doctorat “Accessibilitat i Intel·ligència Ambiental” ACCESSIBILITY FOR THE SCENIC ARTS TESIS DOCTORAL Autora: Estel·la Oncins Noguer Directors: Dra. Pilar Orero Dr. Javier Serrano Barcelona, desembre 12 de 2013 ACKNOWLEDGMENTS Aquesta tesis doctoral no hauria vist la llum sense el suport incondicional de la Pilar Orero. Gràcies per dipositar a ulls clucs tota la teva confiança en mi. Pilar Orero Gràcies també a en Javi Serrano, a l’Hector Delgado i a l’Oscar Lopes per tot el suport informàtic i tecnològic. Tot i que a vegades és difícil desxifrar la informació que emeteu els enginyers informàtics, la vostra ajuda i treball han estat Javier vitals per mantenir aquesta Serrano recerca viva. Pablo Rogero Mai podré arribar a agrair l’estima i els ànims del meu company Pablo Rogero. Sense la teva paciència i fe incondicional en mi, aquest treball encara estaria a la llista d’assumptes pendents. Gràcies a l’Anna Maszerowska per la seva mirada d’àguila i els consells. Anna Maszerowska Anja ets un sol. Gràcies a en David Johnston i al grup de recerca de la Queen's University Belfast per acollir-me durant tres mesos a la seva David universitat. Johnston Manel Ebri Gràcies a en Manel Ebri per haver- se involucrat en temes inclusius tan importants com l’accessibilitat. Manel la teva persistència és fonamental. Gràcies a tot l’equip del Caiac i Transmedia Catalunya dins i fora del MRA. Ha estat un plaer poder My friends compartir amb tots vosaltres les CaiaC & penes i alegries d’aquest anys de Transmedia recerca.
    [Show full text]
  • July-August, 2016 from the Editor Welcome to the July-August 2016 Edition of the AAA Newsletter
    NewsletterAMERICAN ACCORDIONISTS’ ASSOCIATION A bi-monthly publication of the American Accordionists’ Association July-August, 2016 From the Editor Welcome to the July-August 2016 edition of the AAA Newsletter. Congratulations to all those that made the 2016 Festival in Buffalo a tremen- dous success. The annual festival showcased a diverse and talented array of ac- cordionists, performing a variety of genres of music. You will have all received information that this Newsletter is now available in both a printed format and also as a .pdf file. While some prefer to have a printed copy to browse at leisure, there are also a number of people who enjoy having their news presented in an electronic format, and thus a digital version is another means for the AAA to take advantage of the technology available today. Be sure to let the AAA know of your preference, and they will be happy to arrange your Newsletter delivery accordingly. Once again my sincere thanks to all those that have assisted in providing news items and pictures, including your very own AAA Board of Director Rita Barnea who is always an avid supporter of the AAA Newsletter sharing a variety of news items from around the country. Items for the September 2016 Newsletter can be sent to me at [email protected] or to the official AAA e-mail address at: [email protected]. Please include ‘AAA Newsletter’ in the subject box, so that we don’t miss any items that come in. Text should be sent within the e-mail or as a Word attachment.
    [Show full text]
  • The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St
    Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-27-2013 Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the Music Commons Recommended Citation Chapman, David Allen, "Collaboration, Presence, and Community: The hiP lip Glass Ensemble in Downtown New York, 1966-1976" (2013). All Theses and Dissertations (ETDs). 1098. https://openscholarship.wustl.edu/etd/1098 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Peter Schmelz, Chair Patrick Burke Pannill Camp Mary-Jean Cowell Craig Monson Paul Steinbeck Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966–1976 by David Allen Chapman, Jr. A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © Copyright 2013 by David Allen Chapman, Jr. All rights reserved. CONTENTS LIST OF FIGURES ....................................................................................................................
    [Show full text]
  • Singing in English in the 21St Century: a Study Comparing
    SINGING IN ENGLISH IN THE 21ST CENTURY: A STUDY COMPARING AND APPLYING THE TENETS OF MADELEINE MARSHALL AND KATHRYN LABOUFF Helen Dewey Reikofski Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2015 APPROVED:….……………….. Jeffrey Snider, Major Professor Stephen Dubberly, Committee Member Benjamin Brand, Committee Member Stephen Austin, Committee Member and Chair of the Department of Vocal Studies … James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Reikofski, Helen Dewey. Singing in English in the 21st Century: A Study Comparing and Applying the Tenets of Madeleine Marshall and Kathryn LaBouff. Doctor of Musical Arts (Performance), August 2015, 171 pp., 6 tables, 21 figures, bibliography, 141 titles. The English diction texts by Madeleine Marshall and Kathryn LaBouff are two of the most acclaimed manuals on singing in this language. Differences in style between the two have separated proponents to be primarily devoted to one or the other. An in- depth study, comparing the precepts of both authors, and applying their principles, has resulted in an understanding of their common ground, as well as the need for the more comprehensive information, included by LaBouff, on singing in the dialect of American Standard, and changes in current Received Pronunciation, for British works, and Mid- Atlantic dialect, for English language works not specifically North American or British. Chapter 1 introduces Marshall and The Singer’s Manual of English Diction, and LaBouff and Singing and Communicating in English. An overview of selected works from Opera America’s resources exemplifies the need for three dialects in standardized English training.
    [Show full text]
  • 6. the Evolving Role of Music Journalism Zachary Woolfe and Alex Ross
    Classical Music Contemporary Perspectives and Challenges Classical Music This kaleidoscopic collection reflects on the multifaceted world of classical music as it advances through the twenty-first century. With insights drawn from Contemporary Perspectives and Challenges leading composers, performers, academics, journalists, and arts administrators, special focus is placed on classical music’s defining traditions, challenges and contemporary scope. Innovative in structure and approach, the volume comprises two parts. The first provides detailed analyses of issues central to classical music in the present day, including diversity, governance, the identity and perception of classical music, and the challenges facing the achievement of financial stability in non-profit arts organizations. The second part offers case studies, from Miami to Seoul, of the innovative ways in which some arts organizations have responded to the challenges analyzed in the first part. Introductory material, as well as several of the essays, provide some preliminary thoughts about the impact of the crisis year 2020 on the world of classical music. Classical Music Classical Classical Music: Contemporary Perspectives and Challenges will be a valuable and engaging resource for all readers interested in the development of the arts and classical music, especially academics, arts administrators and organizers, and classical music practitioners and audiences. Edited by Paul Boghossian Michael Beckerman Julius Silver Professor of Philosophy Carroll and Milton Petrie Professor and Chair; Director, Global Institute for of Music and Chair; Collegiate Advanced Study, New York University Professor, New York University This is the author-approved edition of this Open Access title. As with all Open Book publications, this entire book is available to read for free on the publisher’s website.
    [Show full text]
  • Staged Treasures
    Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio
    [Show full text]
  • Spring 2010 X
    BARGEMUSIC In residence to the community all year long. Spring 2010 X “It doesn’t take long to hear what makes Bargemusic the perfect chamber music hall… ” —Allan Kozinn, The New York Times “The popular venture atop a floating barge … a wonderfully intimate place to hear chamber music.” —Anthony Tommasini, The New York Times w www.bargemusic.org [email protected] 718.624.2083 718.624.4061 Fulton Ferry Landing, Brooklyn w www.bargemusic.org W w Reservations W For reservations & all inquiries: 718.624.2083 or 718.624.4061 Seats are assigned in order of phone call or email. Email: [email protected] Ticket Prices: Vary by performance; please see individual calendar listings. Purchase tickets at the concert by cash or check only, please. Ask about group sales and gift certificates. Credit Cards by Phone: Purchase tickets with MasterCard or VISA, only by telephone at 718.624.2083. Cancellations: Please let us know before the concert if you cannot attend so that your seat can be reassigned. If you have already paid by check or credit card, you may donate your tickets for a tax deduction. We are not able to refund payments. w Directions W Bargemusic is in Brooklyn on the Fulton Ferry Landing near the Brooklyn Bridge See map online at www.bargemusic.org. By Subway: From Manhattan, ride in the rear of the A or C train to High Street station in Brooklyn. (From Brooklyn, ride in the front of the train). Use the FULTON STREET EXIT. Walk downhill on Cadman Plaza West to the East River, 3 blocks.
    [Show full text]
  • FY13 Annual Report View Report
    ANNUAL REPORT 2012–13 3 Introduction 5 Metropolitan Opera Board of Directors 7 2012–13 Season Repertory & Events 14 2012–13 Artist Roster 15 The Financial Results 46 Patrons Introduction The Metropolitan Opera’s 2012–13 season featured an extraordinary number of artistic highlights, earning high praise for new productions, while the company nevertheless faced new financial challenges. The Met presented seven new stagings during the 2012–13 season, including the Met premieres of Thomas Adès’s The Tempest and Donizetti’s Maria Stuarda, the second of the composer’s trilogy of Tudor operas (with the third installment planned for a future season). All seven new productions, plus five revivals, were presented in movie theaters around the world as part of the Met’s groundbreaking Live in HD series, which continued to be an important revenue source for the Met, earning $28 million. Combined earned revenue for the Met (Live in HD and box office) totaled $117.3 million. This figure was lower than anticipated as the company continued to face a flat box office, complicated by the effects of Hurricane Sandy, the aftermath of which had a negative impact of approximately $2 million. As always, the season featured the talents of the world’s leading singers, conductors, directors, designers, choreographers, and video artists. Two directors made stunning company debuts: François Girard, with his mesmerizing production of Parsifal on the occasion of Wagner’s bicentennial, and Michael Mayer, whose bold reimagining of Verdi’s Rigoletto in 1960 Las Vegas was the talk of the opera world and beyond. Robert Lepage returned to direct the highly anticipated company premiere of Thomas Adès’s The Tempest, with the composer on the podium.
    [Show full text]
  • FOR IMMEDIATE RELEASE CONTACT: Joyce Linehan 617-282-2510, [email protected]
    FOR IMMEDIATE RELEASE CONTACT: Joyce Linehan 617-282-2510, [email protected] OPERA BOSTON ANNOUNCES 2011-2012 SEASON Note: This is an update to a release sent in March 2011. Sandra Piques Eddy will NOT appear in Béatrice et Bénédict; French-Canadian mezzo-soprano Julie Boulianne will debut the role of Béatrice. Program includes two rarities by beloved composers not staged locally in decades, and a New England premiere. Panikkar, Boulianne, Lenormand, Harvey make company debuts. Hector Berlioz Béatrice et Bénédict October 21, 23, 25, 2011 Sir Michael Tippett The Midsummer Marriage (New England Premiere) February 24, 26, 28, 2012 Vincenzo Bellini I Capuleti e i Montecchi April 27, 29, and May 1, 2012 (BOSTON – Update August 1, 2011 ) Opera Boston announces its first full season under the leadership of General Director Lesley Koenig and Artistic Director Gil Rose. The season features strong ensemble casts. Mezzo-soprano Julie Boulianne and tenor Sean Panikkar make company debuts in the title roles of Béatrice et Bénédict . Young American soprano Joélle Harvey debuts as Jenifer in The Midsummer Marriage with Joyce Castle. Acclaimed French mezzo-soprano Marie Lenormand makes a company debut as Romeo, opposite emerging Korean soprano Hae Ji Chang, a New England Conservatory Artist Diploma candidate, as Giulietta. All performances will be held at the Cutler Majestic Theatre at Emerson College, 219 Tremont St., Boston. Each performance will feature a pre-performance talk, and Sunday performances feature a free post-performance talkback with artists. Opera Boston is pleased to partner with Figaro Systems to provide English translations on large flat-screen panels for all performances.
    [Show full text]
  • Assistive Technology in Performing Arts Organizations
    Assistive Technology in Performing Arts Organizations By Seth Laidlaw A Research Center of TABLE OF CONTENTS Introduction | 3 What is Assistive Technology? | 3 The Need for Accommodation | 4 Survey | 4 Statement of Purpose | 4 Design | 4 Demographics | 4 Results | 5 Feasibility | 5 Open Captioning | 6 Audio Description Services | 7 Recommendations | 8 Conclusion | 9 Bibliography | 10 Appendix | 11 2 for people of all abilities. The accessibility initiative offers an opportunity to understand patrons and better accommodate their needs, thereby increasing audiences and creating stronger relationships with arts patrons. It is an opportunity for arts managers to learn how to provide supports to serve the entire community. This paper addresses some common barriers surrounding diversity and inclusion, attempts to eliminate assumptions, and seeks to broaden understanding of the use of assistive technology at the national level. It presents a national INTRODUCTION perspective on the various assistive technology Arts organizations want to attract a diverse tools that performing arts organizations currently audience into performing arts venues. While offer to patrons with sensory disabilities. After challenges surround the type of programming establishing this framework, the paper focuses an arts organization is able to produce or on the feasibility of implementing two specific present, opportunities are available for audience assistive technology tools by arts organizations: diversification by providing a safe and open captioning and audio description services. welcoming environment for audience with disabilities. In many ways, the Americans with WHAT IS ASSISTIVE TECHNOLOGY? Disabilities Act (ADA) helps to ensure that arts Put simply, assistive technology is a term that organizations provide, at the very least, a legally includes assistive, adaptive, and rehabilitative safe physical space for all patrons.
    [Show full text]
  • Thea Musgrave
    SRCD.2369 STEREO AAD Thea Musgrave THEA MUSGRAVE Ashley Putnam Mary, Queen of Scots Jake Gardner Virginia Opera DISC ONE 53.28 Peter Mark 1 Cardinal Beaton’s Study 10.52 2 Mary’s arrival in Scotland 14.42 3 Peace Chorus 5.41 4 Ballroom at Holyrood 22.13 DISC TWO 79.11 1 Council Scene: Provocation Scene 18.21 2 Confrontation scene 13.03 3 Supper Room scene 6.41 4 Second Council scene 9.55 MARY 5 Opening - Mary’s Lullaby 11.04 6 Seduction scene 9.33 7 Mary’s Soliloquy. Finale 10.34 Total playing time 2 hours 12 minutes QUEEN OF SCOTS c 1979 issued under licence to Lyrita Recorded Edition from the copyright holder © 2018 Lyrita Recorded Edition, England. Lyrita is a registered trade mark. Made in the UK LYRITA RECORDED EDITION. Produced under an exclusive licence from Lyrita by Wyastone Estate Ltd, PO Box 87, Monmouth, NP25 3WX, UK SRCD 2369 20 SRCD 2369 1 Virginia Opera Production of Mary, Queen of Scots was made possible in part by grants from The Dalis Foundation The Virginia Commission of the Arts and Humanities The National Endowment for the Arts, a Federal Agency This recording of a live performance on 2 April, 1978 was made possible by the Martha Baird Rockefeller Fund for Music, Inc. and Maryanne Mott and Herman Warsh Recorded live in Norfolk, Virginia, at the gala performance for the Metropolitan Opera National Council’s Central Opera Service Conference and the Old Dominion University Institute of Scottish Studies Engineering and Production by Allen House In cooperation with The City of Norfolk and The Norfolk Department of Parks & Recreation Music published Novello Publications Inc., Ashley Putnam Photo: Virginia Opera © 1976 Novello & Co., Ltd.
    [Show full text]