Evans sits down with David Charles Abell, his friend for over thirty-five years, to discuss their overlapping careers, shared experiences living in London, and frequent collaborations. They discuss David’s unusual path into the world of conducting, his conducting debut, and how his career has been helped by avoiding some advice he was once given. His best career advice is to “think of all music as storytelling.”
A longtime friend of Evans Mirageas, mezzo-soprano Kelley O’Connor brings life and energy to this episode of “Inside Opera”. Evans and Kelley discuss her unlikely path to becoming an opera singer beginning at the age of five. Kelley discusses her changing voice and how it has influenced the roles she receives. Learn why and how she challenges herself by “stepping out of the box” and her advice for young singers.
Evans sits down with Director Stephen Lawless - director of Cincinnati Opera’s performance of “The Marriage of Figaro” – to discuss how Stephen got his start, his directing career, the amazing people he has worked with and all the wonderful experiences he has had in the directorial profession. Stephen’s advice to young directors trying to make a name for themselves? Find out what your directorial voice is, what you want to see, and what you like seeing.
Director Matthew Ozawa- director of Cincinnati Opera’s performance of “Romeo and Juliet” - talks with Evans about how he fell in love with opera, how he created his career out of the world of instrumental music and into directing, his interesting heritage, and how he gets people to “play well together”. Learn why “be kind to everybody” is one of Matthew’s directorial mottos and how collaboration is like the art of origami.
Evans Mirageas sits down with soprano Susanna Phillips, who played the Countess Almaviva in Cincinnati Opera’s production of “The Marriage of Figaro”. Evans and Susanna discuss her distinct voice, how one begins a career, the fulfillment of motherhood and balancing life with career, and how to be yourself. Susanna’s piece of advice? “Do you. Don’t try to be anyone else.”
Evans sits down with Janai Brugger to discuss what it’s like to be a working mom, the first time Janai got goosebumps listening to opera- she was six years old- how she recognizes the voices of her fellow opera singers, and how to create “legato”. Plus, learn how Janai deals with stress why her favorite piece of advice is to “hurry slowly”.
Omer Ben Seadia, Director of Cincinnati Opera’s production of “Ariadne auf Naxos,” sits down with Evans to discuss how she got her start in opera, how she played hooky from the Israeli army to be in rehearsals, and how she engages with the operatic art form.
In this live-audience recording, author of “Black Opera” Naomi Andre and bass opera singer Morris Robinson - star of Cincinnati Opera’s 2019 production of “Porgy and Bess”- sit down with Evans to discuss the African American operatic experience.
Nicole Cabell is preparing for her role as Juliet in her sixth appearance with Cincinnati Opera. Listen as she reflects on her career and her friendship with Artistic Director Evans Mirageas. (And find out what she and a racehorse have in common.)
The most remarkable thing about this opera is that it tells the stories of six incredible people in their own words. Their voices were silenced for more than 120 years of imprisonment combined. The opera Blind Injustice has not only given them back their voices, but it has done so in a way that will be heard through the rafters of Music Hall and beyond.
Each show takes us behind the scenes to reveal that the artists who transport us as performers are still humans, with all their faults and foibles. In Ariadne auf Naxos, librettist Hugo von Hofmannsthal and composer Richard Strauss go one step further, by poking gentle fun at themselves as well as their characters.
Inspired by his experience as a summer trainee at Cincinnati Opera, Sam Kerns founded a nationally certified Teen Opera Council at his school, School for Creative and Performing Arts (SCPA). “Opera gave me so much, and bringing it to my peers was the least I could do.”
Known for his booming voice and his larger-than-life stage presence, bass Morris Robinson took on a decidedly different sort of role with Cincinnati Opera when he was named Artistic Advisor to the company.
How does a college football player with hopes for the NFL become a world-renowned operatic bass and Artistic Advisor for Cincinnati Opera? Listen as Morris Robinson chats with Artistic Director Evans Mirageas about his dynamic career and inspiring story.
Randy Bowman, Principal Flute of the Cincinnati Symphony Orchestra, took a moment to answer our questions about the music from Another Brick in the Wall. Read on to learn about his rock 'n' roll upbringing and the musical inspirations for this epic new opera!
Throughout her career, Cori Ellison has been an opera singer, coach, translator, lecturer, and, most notably, dramaturg and all-around opera expert. Listen in as she gives an interview on all things new in opera with Harry T. Wilks Artistic Director Evans Mirageas.
In July 2018, Nathan Keoughan made his Cincinnati Opera debut as Pink, the leading role in our U.S. premiere of Another Brick in the Wall. Read on to learn about his life growing up, his high school rock band, and his role in the groundbreaking new opera.
“It has yielded an entirely fresh work, elevating music known to millions with a new grandeur.” Jim Farber, who served as Chief Music Critic of the New York Daily News for 25 years, on the new opera inspired by Pink Floyd’s iconic album.
Countertenor Anthony Roth Costanzo has made a name for himself performing the Baroque canon, cutting-edge new works, and traditional Japanese kabuki theatre. Listen in as he gives an interview about his diverse career with Harry T. Wilks Artistic Director Evans Mirageas.
“Whether you are new to Wagner or have spent your life immersed in his world, Der Fliegende Holländer works its magic by giving you new ways to dream.” Fred Plotkin, opera expert and author of Opera 101, on Wagner’s The Flying Dutchman.