from WVXU’s Around Cincinnati:
“Cincinnati native Thomas Hammons discusses his role in the upcoming Cincinnati Opera production of La Boheme with Robyn Carey-Allgeyer.
By: Robyn Carey-Allgeyer”
from WVXU’s Around Cincinnati:
“Cincinnati native Thomas Hammons discusses his role in the upcoming Cincinnati Opera production of La Boheme with Robyn Carey-Allgeyer.
By: Robyn Carey-Allgeyer”
from WVXU’s Around Cincinnati:
“Robyn Carey-Allgeyer interviews Robert Spano, conductor of the Atlanta Symphony Orchestra, who will be conducting the Cincinnati Symphony Orchestra for a performance of the Italian opera Otello with the Cincinnati Opera.
By: Robyn Carey-Allgeyer”
from WVXU’s Around Cincinnati:
“Tracy Wilson, Cincinnati Opera’s Director of Community Relations, discusses one of the Cincinnati Opera’s most successful community concerts, “Opera Goes to Church’, which is a partnership with Allen Temple AME Church.
By: Anne Arenstein”
from WVXU’s Around Cincinnati:
“Speight Jenkins, renowned expert on the works of Richard Wagner, joins Anne Arenstein in advance of the Cincinnati Opera’s production of Wagner’s Die Meistersinger von Nürnberg.
By: Anne Arenstein”
from WVXU’s Around Cincinnati:
“Frank Johnson previews the Cincinnati Opera’s 90th anniversary gala with conductor Steven Reineke.
By: Frank Johnson”
The Harry T. Wilks Artistic Director Evans Mirageas gives a brief overview of Puccini’s La Boheme at the February 2010 Opera Rap.
The Harry T. Wilks Artistic Director Evans Mirageas gives a brief overview of Verdi’s Otello at the February 2010 Opera Rap.
The Harry T. Wilks Artistic Director Evans Mirageas gives a brief overview of Wagner’s Die Meistersinger at the February 2010 Opera Rap.
The Harry T. Wilks Artistic Director Evans Mirageas gives a brief history of Cincinnati Opera’s 90 year existence at the February 2010 Opera Rap.
On Saturday, May 8, Artistic Director Evans Mirageas led a one-day Meistersinger “master class” exploring Wagner’s grand piece. Listen as he discusses background information, the synopsis, leitmotifs, and more!
Part 4: The co-opting of the opera by the Nazis & conclusion