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Ausrine Stundyte as Cio-Cio-San, Elizabeth Janes as Butterfly’s child and Sarah Larsen as Suzuki in Seattle Opera's production of Puccini's Madama Butterfly. Photo by Elise Bakketun.
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Original Article:
An Evening with Designer John Conklin (Video)
Staff , John Conklin, scenic and costume designer
Original Content
A conversation with respected scenic and costume designer John Conklin moderated by OPERA America's Marc A. Scorca.

Related Article(s):
Big Screen Dreams: A New Stage for Opera
Rebecca Winzenreid ,
Opera America Magazine1/1/1900
This is the first of two articles looking back on recent innovations in delivering opera to audiences. In this issue, Rebecca Winzenreid speaks to company representatives about what they have initiated, as well as their plans for the future. Next, we’ll turn our attention to the audience: OPERA America worked with member companies to survey audiences nationwide and learn more about their reasons for attending the Met HD Broadcasts, as well as their experience of live opera. Shugoll Research will provide a complete analysis of the data, which will be reported in the September issue of Opera America.
Serving the Production
Kelley Rourke ,
Every production is a collaboration, but none more so than a new production, when the physical production may, literally, be built around the singers. While such an experience offers a wonderful creative opportunity for all involved, it can also involve more trial and error, as the members of the creative team test their ideas in the rehearsal room and onstage.
Opera and Architecture: Building a Home for the Art Form in the Modern World
Philip Kennicott ,
Opera America Magazine1/1/1900
Architecture is the older art, perhaps as old as civilization, but opera and architecture share a common history, and common obsessions. Look at 17thcentury stage designs for the first operas, and it seems as if opera was born to create ideal residents for the buildings of Palladio, who died less than 20 years before Jacopo Peri’s Dafne helped inaugurate the new musical form. Opera, understood not as a new art but a revival of classical sung drama, naturally reflected the order and balance that prevailed in the built world. Even when librettists called for scenes set in the sylvan landscape of Arcadia, the trees were as orderly as rows of Corinthian columns. The sets Giocomo Torelli designed for an opera called Bellerofonte are typical: Pilasters and columns are seen in strong, single point perspective, down the center of the stage, no matter whether they’re made from stone or trees.
Stage Manager: The Best Friend A Singer Can Have
David Grindle ,
When you are hired to sing at an opera company, singing your best is certainly a priority, but not your only consideration. In this volume of Voices, a series highlights expert advice on various components of working well with the company who hires you. This issue’s article looks at the relationship between you

the singer — and the stage manager.
A Foot in the Door
Megan Young, Artistic Services Manager, OPERA America ,
It seems fair to say that everyone in the opera world is aware of the existence of young artist programs -- the training grounds for tomorrow’s operatic power players. But many people don’t realize that apprentice programs are not just for the people who want to be on stage. A wealth of training opportunities are available for those who want to learn what it’s like behind the scenes in the areas of administration, coaching, conducting, and technical/production.
Technical Mecca
Megan Young, Artistic Services Manager, OPERA America ,
As the resident proprietor of Opera Source, OPERA America's comprehensive online listing of opportunities in the opera field, I think it's safe to say that I have a fairly good grasp of what's going on in opera. But in mid-March, I traveled to the distant land of Phoenix and discovered an entire world that had, until then, been predominantly out of my field of vision — the world of technical theater. As an exhibitor for OPERA America at the 2007 United States Institute for Theatre Technology (USITT) Conference & Stage Expo, I was given a crash course of the whats and whos of the technical theater field, including theater companies, opera companies, educational institutions, associations, unions, and businesses.
Oh, the Places You'll Go (With a Little Help)
Megan Young, Artistic Services Manager, OPERA America ,
Plato and Aristotle. Ezra Pound and T.S. Eliot. Isaac Stern and Yo-Yo Ma. Jon Corzine and Barack Obama. Jay-Z and Rihanna. What could these people possibly have in common? Yes, these highly successful duos are from many walks of life and periods of time, but they do have a unifying thread — they all share a mentor-protégé relationship.

Costumes Make the Mezzo
Staff ,
Everyone in the theater business knows that costumes have a major effect on how a show looks; but in the opera world, costumes can also change the way the singing actor performs. No one is more aware of this than the singer. How, then, does one approach the tricky business of costuming singers, and how can singers help make the costuming process as stress-free as possible? On February 26, Daniel James Cole, designer; Marsha LeBoeuf, costume director at Washington National Opera; Jay Lesenger, general and artistic director of Chautauqua Opera; and Jodi L. Zanetti, wardrobe supervisor at Glimmerglass Opera discussed this topic as part of OPERA America's ongoing Making Connections series in New York.
OPERA America's Director-Designer Showcase
Jerome Socolof, OPERA America Artistic Services Intern ,
Are you a stage director looking to bring your unique vision to life? A designer with a fresh and exciting spin on the operatic medium? If so, OPERA America wants to bring your talent to the attention of the entire field through its new Director-Designer Showcase.
Crossing from Theater Directing to Opera
Staff Yuval Sharon, stage director, Ned Canty, stage director; James Marvel, stage director; Dona D. Vaughan, PORTopera
Making Connections9/24/2008
Being a stage director in opera requires a unique set of skills. Panelists who successfully cross over from theater to opera will discuss:
  • Working with opera singers vs. working with stage actors
  • Relationships with conductors and stage managers
  • Finding opportunities in both fields
OPERA America Announces Finalists in Inaugural Director-Designer Showcase
Staff ,
OPERA America is proud to announce the finalist teams of its first Director-Designer Showcase. As part of a continuing effort to foster emerging opera artists, the bi-annual Director-Designer Showcase seeks to benefit promising stage directors and designers interested in breaking into the world of opera. It is intended to bring new talent to the forefront and connect promising artists with those who are in a position to hire them. Administered as part of OPERA America's Opera Fund, the inaugural Director-Designer Showcase is supported by a special grant from the National Endowment for the Arts.
Designing for 21st-Century Opera
Staff Allen Moyer, scenic designer, Jessica Jahn, costume designer; Wendall K. Harrington, projection designer;Joachim Schamberger, stage director and virtual theater designer
Making Connections5/21/2009
New opera productions and new works provide designers endless possibilities to be creative. A panel of experts will explore:
  • Design trends in the field
  • Numerous multimedia options for the opera stage
  • Bringing film, fashion and other art forms onto the opera stage in exciting ways
An Evening with Designer John Conklin (Video)
Staff , John Conklin, scenic and costume designer
Original Content10/28/2009
A conversation with respected scenic and costume designer John Conklin moderated by OPERA America's Marc A. Scorca.
An Evening with Designer John Conklin (Audio)
Staff Marc A. Scorca, president/ceo, OPERA America, John Conklin, scenic and costume designer
Making Connections10/28/2009
Join us for this event featuring respected scenic and costume designer John Conklin in conversation with OPERA America's Marc A. Scorca. Selected images and samples of Conklin's work will be on display at the event.
Brundibar at Opera Theatre of Saint Louis: Creativity and Efficiency in Tandem
Wendall K. Harrington ,
Original Content12/3/2009
About three years ago, Steve Ryan, director of production for Opera Theatre of Saint Louis called me and asked if I would be interested in working on a new production of Brundibar for their education department. The previous production had a lot of scenery he said, and he was looking to make something that would be more portable.

I was immediately interested. For decades I have been trying to encourage the use of projections for educational theatrical use: Once created, productions can be easily remounted and require virtually no storage. When I looked at a tape of the previous production I understood the real issue with Brundibar for education was twofold. On one hand, opera companies are looking to introduce young people to the beauty of opera with the hope of instilling at least curiosity about the art form, and at the same time they are using Brundibar to teach the history of the Holocaust. Brundibar is a musical fable most famous for being played and sung by the Jewish children interned in the Terezin concentration camp. The subject matter — two children in need of money to buy milk for their sick mother, who triumph over the organ grinder Brundibar — does not neatly illuminate the struggle in the camps, but the idea of any kind of triumph must have been mighty appealing for the inmates, who also were allowed to remove their yellow stars in performance.
In Conversation with Francesca Zambello
Francesca Zambello, director; Marc A. Scorca, OPERA America ,
Making Connections11/10/2010
Internationally acclaimed stage director Francesca Zambello recently became the general and artistic director of the Glimmerglass Festival and will direct its highly anticipated production of Annie Get Your Gun starring Deborah Voigt next season. Join us as this leading artist discusses her career and creative process with OPERA America President and CEO Marc A. Scorca.
Stages of Developing a New Work
John Glover, Beth Greenberg, John Musto, Jim Schaeffer ,
Making Connections1/4/2012
The road to creating a new opera is paved with questions. Who should be on the creative team? How do you know when a work is ready for the next stage of development? When do you let the public hear it? At this session, hear from artists and administrators at the forefront of contemporary opera and gain insight into how new works are created, developed and produced.
Acting Resources for Singers
Marc Astafan, Amy Burton, Chuck Hudson, Jonah Nigh ,
Making Connections1/4/2012

To be successful, opera singers must be able to not only sing beautifully but give engaging dramatic portrayals as well. And like singing, developing your acting abilities is a life-long process. Learn what resources exist to help you improve your acting chops at all levels of career development.

In Conversation with Stephen Wadsworth
Stephen Wadsworth; Marc A. Scorca ,
Original Content3/13/2012
Director Stephen Wadsworth’s work has been seen at major opera houses around the world including La Scala, Vienna State Opera and Covent Garden. He recently directed the Metropolitan Opera’s new production of Boris Godunov and the Broadway production of Terrence McNally’s Master Class. Join us as this leading artist sits down with OPERA America President Marc A. Scorca for an evening of candid conversation.

Stephen Wadsworth’s 2010—2011 season began with a new Boris Godunov at the Metropolitan Opera, continued with a Met revival of Iphigénie en Tauride and a production of The Bartered Bride shared by the Met’s Lindemann program and The Juilliard School, and ended with Terrence McNally’s Master Class on Broadway with Tyne Daly as Maria Callas. This season he directs Rodelinda at the Met, King Roger at Santa Fe and Don Giovanni at Juilliard, where he is, and begins a new translation of Beaumarchais’ Figaro plays commissioned by the McCarter Theater in Princeton. As The James S. Marcus Faculty Fellow and director of the post-graduate advanced training for singers at Juilliard and Head of Dramatic Studies for the Lindemann program, he teaches the full school year. He has directed at La Scala, Vienna State Opera, Covent Garden, the Edinburgh Festival and Netherlands Opera, as well as all over the United States, including at Seattle Opera, for whom he has staged ten productions, notably the Ring cycle (last revival 2013). He co-wrote A Quiet Place with Leonard Bernstein and has translated and adapted plays of Marivaux (published by Smith and Kraus), Molière and Goldoni. His work in the spoken theater includes Aeschylus’ Oresteia trilogy at Berkeley Rep, Molière’s Don Juan at Seattle Rep, the Old Globe in San Diego, the Shakespeare Theatre in Washington, D.C. and the McCarter, three Marivaux titles all over the country, and world premieres of Anna Deavere Smith’s Let Me Down Easy and Beth Henley’s Impossible Marriage at Roundabout. The French government named him a Chevalier of the Order of Arts and Letters, and he is an Artist-in-Residence at the Aspen Institute.

Fall 2014 Magazine Issue
  • Are Women Different?
  • Preparing for Klinghoffer
  • Emerging Artists: Act One

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The building is on the same block as the train stop.

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