Central City Opera Podcast

On this episode, Stage Director Jose Maria Condemi and Conductor/CCO Music Director John Baril discuss the details of this summer's production of Verdi's RIGOLETTO. John talks about the adjustments made the orchestra - including how he wrote a tuba part! - and Jose Maria tells us why and how the time period was modified to modern day. (Here's a hint - the weather is a factor.) The two also debate whether or not there is a "true villain" in the opera, and they share how the pandemic has changed them and the industry as a whole on a profound level. Read the show notes for this episode here.

Have questions or want to provide feedback? Email us at [email protected]. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org.

On this first episode of season six of the Central City Opera Podcast, we hear from stage director Ken Cazan. Ken is back this summer in Central City for his 19th season to direct Rodgers & Hammerstein's musical CAROUSEL. Ken dives deep into the story and themes of this beloved musical, how he and conductor Christopher Zemliauskas made the adjustments for our special outdoor production, and how he connects with the story of CAROUSEL on a personal level.

Read the show notes for this episode here.

Have questions or want to provide feedback? Email us at [email protected]. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org.

Opera Central and the Central City Opera Podcast proudly host the heads of two leading equity, diversity, inclusion and accessibility (EDIA) organizations in Colorado: IDEA Stages Founder Lisa Young and Alliance for Music Education Equity Director Ana Luna Uribe. They talk with CCO Audience Development Manager Teila Theisen about their goals for our local arts community, "working out" or "exercising" inclusivity, the importance of stepping outside your bubble and much more.

Go to ccopodcast.org for the full show notes.

Colorado Music Ambassador and Flobots emcee/lead singer Stephen Brackett talks about music as a tool for liberation, working with young people through his nonprofit Youth On Record and the state of music in Colorado with CCO Director of Marketing and Communications (and longtime friend) Gail Bransteitter. From the halls of George Washington High School to leadership of the Colorado arts world, Stephen and Gail have both been dedicated advocates and artists making a difference in our community for decades.

Learn more about the Colorado Music Ambassador position and the word of both Stephen and previous Colorado Music Ambassador Shawn King of DeVotchKa.

Stephen co-founded the rap/rock experimental band, the Flobots, nationally known for songs like "Handlebars" and "Rise" and their focus on social and political consciousness. Check out their music and mission at flobots.com. Watch for new songs dropping every three weeks in 2021!

The Flobots created the Denver nonprofit Youth on Record offering for-credit music classes in music production, poetry and ethnic studies during the school day in high schools and middle schools. Stephen sat on the board for about ten years, acted as board chair for two and stepped off the board to become Director of Special Programs last year. During the interview he mentions the Denver Children's Home, learn more at www.denverchildrenshome.org.

Youth On Record offers free and open to the public, virtual programming five days out of the week. Explore their offerings and sign up at www.youthonrecord.org.

About Youth On Record, Stephen says:

"What started as an attempt of a band to do more than just soapbox but to actually live our lyrics and create pathways to challenging the power and agency that our songs were about, it actually grew into something that far exceeded our expectations. It has been the best contribution that could have come out of my musical career...That is the thing I'm most proud of."

"We're using (music classes) as a delivery method for liberation. We're not teaching music classes for music's sake, we are teaching music classes so that during the school day, these students have the opportunity to speak their world, their perspective, their view, and to do so with the excellence that the arts kind of require of you."

"When you're battling perfection, that means that you never win, but the grit that you earn in trying to meet the impossible gives you a kind of resilience that you can then leverage against the rest of your academic day. That's what I believe when I'm talking about how music can be a great medium for liberation and a great leverage point for somebody becoming a life-long learner."

Stephen has been all over the news in Colorado for more than a year! Check out some of the headlines below:

• Black History Month Honors Stephen Brackett "Brer Rabbit" - How music gives voice to social justice
• Nine People to Watch in Denver's Culture Scene in 2021

• Flobots co-founder, Denver nonprofit leader named state's music ambassador

B-boy: Someone involved with hip-hop culture, especially a breakdancer

Shout out to George Washington High School in Denver, where Gail and Stephen got to know one another and established a love of the arts.

Stephen on his influences:

"My influences right now are any of the students who are bold enough to get on stage during the talent show. When I see young creatives doing things when they haven't learned the rules yet, and the kinda stuff they come out with when they are unafraid, is always a humbling lesson for me."

A list of local artists we should know about from Stephen:

• Adam Stone, formally Indestructible North, now performs as Lucy (music and visual arts)
• Kayla Marque, singer/songwriter
• Joseph Lamar, singer/songwriter/producer of various mediums
• Buntport Theater, self-described as "a wee group of theater-making humans based in Denver. We've worked together for over 18 years, making new stuff.* We work collaboratively—without 'official' writers, directors, designers, janitors. We do all the stuff. Because we love it."
• Rodney Mullen, Colorado Country Hall of Fame
• The Downy Sisters, "dynamite songwriters"
• Suzi Q. Smith is an award-winning artist, activist and educator who lives in Denver, Colorado. Her background is in opera!

Stephen also draws inspiration from Disney songwriters Howard Ashman and Alan Menken.

Learn more about The Ballad of Baby Doe, an opera commissioned by and premiered at Central City Opera in the 1950s, based on the famous figure of Colorado history Baby Doe Tabor.

Watch the video version of this interview and more at centralcityopera.org/opera-central.

Phebe Berkowitz-Tanners grew up in the Central City Opera House. Her family made a second home in our magical, old western town during the summers of 1953-1963 when her father, Metropolitan Opera violist David Berkowitz, played the Festival season with the Central City Opera Orchestra. Now a dedicated supporter of the company, Phebe reminisces with CCO Director of Development Katie Nicholson about mounting backyard opera productions with other children of the Festival company (attended by famous singers and actors of the main stage!), experiencing the world premiere of The Ballad of Baby Doe from behind the scenes and the expansive and international Central City Opera community that she found throughout her career as an opera stage director and production professional.

Guest host Katherine (Katie) Nicholson was recently featured on the Central City Opera blog, take a read get to know her better!

Those of you watching the video version of this interview will notice the poster for Central City Opera's Voice Your Dreams Endowment Campaign behind Katie. If you want to learn more and/or contribute to the Campaign to help our company endure long into the future, contact Katie at [email protected] or 303-331-7015!

Special thanks to Central City Opera Office Administrator Wanda M. Larson who's helped us keep in close contact with our guest, Phebe, throughout the years and continues to show her passion for unforgettable Central City Opera experiences and community. You'll probably recognize her if you've been up to the summer Festival, she's the Gift Shop Admin/Buyer, too!

Historical preservation is a pillar of Central City Opera's mission. Learn about the dozens of historic properties we own and maintain. Explore more Central City history, and even schedule a tour at www.gilpinhistory.org.

"The famous ghost town" of Nevadaville is just up the street from Central City. Learn more about it at www.uncovercolorado.com.

Like many patrons and visitors, Phebe mentions paranormal experiences in and around our properties. Have you encountered something ghostly in Central City?

Phebe talks about many exciting moments and incredible figures from Central City Opera, including:

• Phebe spent her first summer at Central City Opera in 1953, the production was Bizet's Carmen. She was 7 and her sister was 9. They fell in love with the music, sitting in on every rehearsal, and they began the tradition of performing their own versions of the season's operas in their backyard with the other children of the Festival company. They'd string up a sheet to make a stage curtain, and star actors and singers would even come to see their shows! According to Phebe, these "parodies" and performances went on to inspire the tradition of our famous singing ushers.
• You'll hear the famous Risë Stevens recording of Carmen that Phebe and her sister loved so much as background music during this podcast.
• Wonderful performers Phebe recalls knowing as a child—some of whom attended her backyard productions—were Julie Harris, Tammy Grimes, Shirley Booth, Arlene Saunders.
• One of Phebe's favorite memories of Central City Opera was the world premiere of The Ballad of Baby Doe in 1956. She was 10 years old at the time, and she remembers all the excitement and artistry of composer Douglas Moore, librettist John La Touche, director and renowned choreographer Hanya Holm, director Edwin Levy and starring sopranos Dolores Wilson and Leyna Gabriele, all working together on this brand new opera. Read more about Baby Doe Tabor as a historical figure and the opera based on her life on the Central City Opera blog!
• Cyril Richard—perhaps best remembered as Captain Hook in the Mary Martin musical production of Peter Pan—played Don Andres in La Perichole at Central City Opera in 1958. Phebe talks about how he kindly reassured her little brother, who had made a loud mistake on stage while playing a non-singing role in the production.
• Over her summers at Central City Opera, Phebe memorized 17 operas along with the other children. "It was incredible musical education," she says, "it was all about the music."
• Phebe points out, "in those days all the operas [in Central City] were performed in English." Throughout history it's been common practice for operas to be adapted to the vernacular of the place they're being performed. In recent years—especially in the United States—operas are more commonly performed in their original language. Wonder where the performance trends in this 400-year-old artform will take us next!
• Since various opera companies and orchestras perform during different times of the year, many musicians play in multiple ensembles like Phebe's dad. For instance many orchestra members at Central City Opera also played with the Metropolitan Opera, and today our orchestra shares many musicians with the Colorado Symphony.
• The Berkowitz family stayed in a historic house that, during those years, was named after Gypsy Rose Lee (1911-1970). Famous for her burlesque act, Lee was also an actor, author, playwright and all-around fascinating figure that inspired and captured the kids' imagination.

As an adult, Phebe went on to build a career as an opera director and production professional, herself. Learn more about some of the figures and references she makes in this interview:

• She snagged a job as an intern in makeup and costumes with Hamburg State Opera as a young woman. As she was such a keen observer during rehearsals, Gian Carlo Menotti—the composer of the world-premiere production of Help, Help, the Globolinks! they were producing—asked her to call the light cues. Even with her very limited German vocabulary, she was up to the task!
• After that, Hamburg State Opera Artistic Director Rolf Liebermann hired her on as lighting stage manager. Later, he took Phebe with him as a stage director when he joined Paris Opera as Artistic Director.
• Phebe enjoyed many years as a part of the Metropolitan Opera Company, as an assistant stage director, director for revivals and Executive Stage Director (1974-2016).
• Her time with the Met Opera began when August Everding brought her along as his personal assistant for Tristan und Isolde (1971), which was Rudolf Bing's last new production.
• Central City Opera Artistic Director Emeritus John Moriarty is also a close friend and mentor to Phebe. While they didn't cross paths at CCO, he taught her to stage manage at Lake George Opera—now Opera Saratoga—where they worked together for three years.
• Read Phebe's general bio at centralcityopera.org/opera-central

Join Phebe in supporting the community and artistry of Central City Opera for many years to come. Find all kinds of ways to donate at centralcityopera.org/support-us

Thanks for listening!

Musical excerpts featured in this podcast:

1. Carmen by Georges Bizet. Mezzo-soprano Risë Stevens (1913-2013) sings the Act 1 "Habanera." Recording with the Metropolitan Opera Orchestra in approximately 1948 and conducted by Erich Leinsdorf.
2. The Ballad of Baby Doe by Douglas Moore, Act 1, Scene 2 "Willow Song." Recorded in 1959 at the New York City Opera Company with soprano Beverly Sills (1929 – 2007) as Baby Doe and Walter Cassel (1910-2000) as Horace Tabor. Conducted by Emerson Buckley (1916-1989). (Cassel and Buckley were part of the original 1956 production at Central City Opera in these same roles.)
3. The Girl of the Golden West by Giacomo Puccini, Act 1 with soprano Eva-Maria Westbroek as Minnie and tenor Yusif Eyvazov as Dick Johnson. Recorded at the Metropolitan Opera and featured on PBS's Great Performances.

En Mis Palabras artists share their thoughts and experiences on racially accurate casting, representation in the performing arts and the importance of telling diverse stories on the operatic stage in today's episode. Guests include Mica Dominguez-Robinson, who originated the leading role of Ana Maria, and brand-new cast members Daniela Guzmán-Égüez (Ana Maria) and Armando Contreras (Esteban). Hosted by CCO Marketing Content Manager and Opera Central Producer Margaret Siegrist.

Central City Opera commissioned our bilingual, one-act opera En Mis Palabras/In My Own Words more than 15 years ago, with the goal of acknowledging the 1/5 Latino population here in Colorado. The opera tackles themes of immigration, family and coming of age and is performed regularly as a part of year-round education and community engagement programming. Over 19,000 people have seen it since its 2006 premiere. Central City Opera committed to casting the lead role of Ana Maria only with LatinX artists since the opera was commissioned, and that practice has been honored to this day.

This third and final conversation focused on En Mis Palabras and diversity, equity and inclusion in the arts amplifies the voices of the artists of color who perform in the program!

Settle in for coffee and conversation with us. Text PALABRAS to 20123, and find great deals on over 400 coffees roasted to order and shipped to you by the bag from the nation's best roasters. A portion of all purchases goes to Central City Opera thanks to our partners at Eat4Art.

A note on En Mis Palabras personnel and casting: "Touring artists," a term you heard during the interview, refers to the singers, instrumentalists and production staff who perform as part of our year-round education programs. Most shows, including En Mis Palabras, are cast with multiple artists in each role so that Central City Opera is able to best serve our communities from a scheduling perspective. The artists you'll meet in these episodes are just a few of the many current and past cast members of the show!

What are Mica, Dani and Armando up to in the near future?

• Both Armando and Dani perform in Boulder Opera Company's November 2020 production of La bohème, set in the era of COVID-19. Learn more and buy tickets at boulderoperacompany.com
• Armando teaches voice lessons and is currently accepting new students. Apply at Resonance.
• Mica looks forward to performing the following roles in postponed productions: Dorothy in The Wizard of Oz, the "Day by Day" singer in Godspell, ensemble in Sweeney Todd and Bright Star and returning as a featured singer in the Cirque Dreams National Tour.

Mica talks about a couple momentous moments for inclusive casting in musical theater:

• Brittney Johnson Makes History as Broadway's First Glinda of Color in Wicked
• Broadway's Phantom of the Opera Announces First Asian-American Christine

Many performers of color and organizations championing diversity, equity and inclusion were mentioned in the episode. Check out the links below for more information:

• Jessye Norman, opera singer
• Leontyne Price, opera singer
• Nadine Sierra, opera singer
• Pretty Yende, opera singer
• Frontiers: Fort Worth Opera Libretto Workshop
• Lyric Opera of Kansas City

Our host mentioned a story about the famously voluptuous opera singer Luisa Tetrazzini (1871–1940) playing a character who was meant to be wasting away with consumption (tuberculosis) as a testament to the lack of importance placed on type-casting during different eras of opera history.

Armando talked about preference against bilingual communication in United States' schools during the '70s and '80s that influenced the experiences of his family members. Read more about the "English-only Movement" in education.

Dani talks about "zarzuela," a Spanish lyric-dramatic genre that alternates between spoken and sung scenes, the latter incorporating operatic and popular songs, as well as dance."

Shout out to the educators and educational institutions referenced in this episode:

• Denver School of the Arts
• University of Denver's Lamont School of Music
• Vinson Cole, Armando's voice teacher

This episode features musical excerpts from our 2008 archival recording of En Mis Palabras. Composer, Roger Ames. Librettist, Jeffrey Gilden. Ana Maria, Jennifer DeDominici. Rodolfo, Adam Sattley. Esteban, Steven Taylor. Abuela, Leslie Remmert Soich. Piano, Deborah Schmit-Lobis. Guitar, Rick Chinisci.

The conversation on our original, bilingual opera En Mis Palabras/In My Own Words and diversity, equity and inclusion in the arts continues. Today we discuss Su Teatro and Central City Opera's collaboration on the En Mis Palabras workshop and premiere, Denver's rich Chicano history and art as cultural affirmation. Featuring some of the original artistic minds behind the opera, director Tony Garcia and former CCO Director of Education and Community Engagement Deb Morrow, the interview is hosted by CCO Marketing Content Manager and Opera Central producer Margaret Siegrist.

Central City Opera commissioned En Mis Palabras/In My Own Words more than 15 years ago, with the goal of acknowledging the 1/5 Latino population here in Colorado. The opera tackles themes of immigration, family and coming of age and is performed regularly as a part of Central City Opera's year-round education and community engagement programming. Over 19,000 people have seen it since its 2006 premiere.

Settle in for coffee and conversation with us! Text PALABRAS to 20123, and find great deals on over 400 coffees roasted to order and shipped to you by the bag from the nation's best roasters. A portion of all purchases goes to Central City Opera thanks to our partners at Eat4Art. Cheers!

Central City Opera collaborated with Tony Garcia and Su Teatro, where he's Executive Artistic Director, for the workshop and premiere of En Mis Palabras in 2006. Learn more about Denver's Su Teatro Cultural & Performing Arts Center at suteatro.org and in the words of Tony Garcia. Born from the Chicano Civil Rights Movement of the 1960s and 70s, Su Teatro (Your Theater) began in 1972 as a student-organized group at the University of Colorado at Denver. In 2020, the company celebrates 10 years at the Denver Civic Theater—an iconic fixture of the Santa Fe Arts District—making Su Teatro the company to make its home in the theater for the longest period of time of any other group, as well as the first to own it. Learn more about Su Teatro's history and productions on the company's website.

Referenced a few times throughout the interview, John Moore profiled Tony's life and career in a 2019 article about his Community Service in the Arts Award. "The Bonfils-Stanton Foundation saluted Su Teatro Executive Artistic Director Tony Garcia for four decades of promoting Latino culture in Denver through the performing arts by presenting him with its Community Service in the Arts Award on May 14, 2019."

Deb Morrow has been General Manager at the Arvada Chorale since 2019. Learn more about the community chorus and its 43-year history arvadachorale.org.

Composer Roger Ames and librettist Jeffery Gilden were also important members of En Mis Palabras/In My Own Words' original creative team. Hear more from Roger about the making of En Mis Palabras and recent, collaborative language/dialect improvements to the libretto in Season 5, Episode 4 of the Central City Opera Podcast.

Music! Words! Opera!, an opera and musical theater "create and produce" program that Deb mentions throughout the episode, is still an integral part of Central City Opera's programs. Learn more (and book!) on our 2020 fall virtual programming webpage. Music! Words! Opera! is available in the form of CCO teaching artist-guided residencies as well as workshops for educators.

More projects by Tony Garcia referenced in the interview include:

• Interview with a Mexican is based on Gustavo Arellano's "Ask a Mexican" columns that ran in Westword for a decade. Arellano is now a writer at the Los Angeles Times.
• Tony directed And Now Miguel for the Arvada Center (circa 2000).
• The Japanese notion of "searching for the imperfection that people keep" is referenced several times throughout the interview, including a play based on the concept directed by Tony Garcia.

Read more about history and social context presented in this episode:

• The Chicano Movement or "El Movimiento:" history and recommended resources from MSU.
• "English-only Movement" in education
• "Zarzuela is a Spanish lyric-dramatic genre that alternates between spoken and sung scenes, the latter incorporating operatic and popular songs, as well as dance."
• American playwright, screenwriter, film director and actor Luis Miguel Valdez is regarded as the father of Chicano theater in the United States. Valdez is well known for creating El Teatro Campesino and supporting César Chávez and the United Farm Workers.
• Corrido is a style of narrative or storytelling involving song and meter, often dealing with themes of oppression and social turmoil. The style was popular during the Mexican Revolutions of the 20th century and is still common today in various cultures.

This episode features musical excerpts from our 2008 archival recording of En Mis Palabras/In My Own Words:

Composer, Roger Ames. Librettist, Jeffrey Gilden. Ana Maria, Jennifer DeDominici. Rodolfo, Adam Sattley. Esteban, Steven Taylor. Abuela, Leslie Remmert Soich. Piano, Deborah Schmit-Lobis. Guitar, Rick Chinisci.

This interview is part of a three-episode series featuring our original bilingual opera En Mis Palabras/In My Own Words and exploring equity, diversity and inclusion in the arts. Central City Opera (CCO) commissioned En Mis Palabras more than 15 years ago, with the goal of acknowledging the 1/5 Latino population here in Colorado. The opera tackles themes of immigration, family and coming of age and is performed regularly as a part of Central City Opera's year-round education and community engagement programming. Over 19,000 people have seen it since its 2006 premiere.

Today, we discuss the ongoing growth and evolution of the opera's bilingual text, the idea of enriching story-telling through inclusion of many creative voices and, finally, what En Mis Palabras means to artists and audiences who've experienced it. Guests include En Mis Palabras composer Roger Ames, pianist and coach for the production Steven Aguiló-Arbues and CCO Director of Education Emily Murdock with host and CCO Marketing Content Manager Margaret Siegrist.

Settle in for coffee and conversation with us! Text PALABRAS to 20123, and find great deals on over 400 coffees roasted to order and shipped to you by the bag from the nation's best roasters. A portion of all purchases goes to Central City Opera thanks to our partners at Eat4Art. Cheers!

Roger Ames co-wrote Music! Words! Opera!, a "create and produce" curriculum for Opera America's textbook series, in the late 1980s with Clifford Brooks. It's been an important part of Central City Opera's education and community engagement programs for many years with Roger at the helm. Central City Opera offers Music! Words! Opera! Residencies for students and an annual workshop teaching educators how to bring the program their own classrooms. Learn more on our 2020 fall virtual programming webpage.

Listen to compositions by Roger Ames referenced during this episode:

• 2008 Pulitzer-nominated composition, A Requiem for Our Time.

• Excerpts from Roger's first opera, Amistad, (1977), dealing with the first instance in which slavery became an incident in the United States Supreme Court. Libretto by Virginia Artist and Roger Ames. Commissioned by the Board of Homeland Ministries and awarded a National Endowment for the Arts grant.
• Abraham's Land, a new musical by Roger Ames with book and lyrics by Lauren Goldman Marshall, was scheduled to premiere in 2020 and has been postponed to summer 2021 due to the pandemic. "Set against the backdrop of the Israeli/Palestinian conflict during the time of the First Intifada, and framed by the ten days between Rosh Hashanah and Yom Kippur, Abraham's Land tells a story of atonement." Learn more: abrahamslandmusical.com.

A note on En Mis Palabras personnel and casting: "Touring artists," a term you may have heard during the interview, refers to the singers, instrumentalists and production staff who perform as part of our year-round education programs. Most shows, including En Mis Palabras, are cast with multiple artists in each role so that Central City Opera is able to best serve our communities from a scheduling perspective. The artists you'll meet in these episodes are just a few of the many current and past cast members of the show!

We'd be remiss if we did not introduce Emily and Steven's dog, Millie, who made a cameo at the end of the interview. To paint a picture for our podcast audiences, she's some ambiguous and adorable combination of beagle, basset hound, lab and corgi.

This episode features musical excerpts from our 2008 archival recording of En Mis Palabras:

Composer, Roger Ames

Librettist, Jeffrey Gilden

Ana Maria, Jennifer DeDominici

Rodolfo, Adam Sattley

Esteban, Steven Taylor

Abuela, Leslie Remmert Soich

Piano, Deborah Schmit-Lobis

Guitar, Rick Chinisci

This extra-special, bonus episode of Opera Central is a real, uncut conversation between Music Director John Baril, Orchestra Personnel Manager and Violist Brian Cook, Mezzo-Soprano Megan Marino and Baritone Michael Mayes over a couple of beers. The two couples chatted about life and art during the time of COVID outside of the historic Penrose House Complex in Central City after Meg and Mike performed in the Garden for the CCO Al Fresco series. Covering topics like how their lives have changed since the pandemic, how watering flowers and maintaining historic properties have inspired John and Brian to live in the moment, and the ways Meg and Mike envision American opera changing for the better, you'll feel like you're right there among the elements with these four friends. Since the interview had to be recorded outside for safety purposes, you'll hear wind, motor noise, bird calls, the occasional dog barking, and even the famous Central City Wild West Shootout in the background. That's summer life outside in Central City! You'll hear Mike speak first, then John, Brian, and finally Meg. Enjoy!

Megan and Michael's "opera meets bluegrass" #CCOAlFresco concert is available online starting August 26 at centralcityopera.org/ccoalfresco.

Along with being Central City Opera's Orchestra Personnel Manager, Brian Cook is a music educator, chef, massage therapist and more! Learn more about him at cookwithcook.com.

John and Brian reference "working for (Director of Historic Properties) Eric Chinn" throughout the episode. If you'd like to volunteer to help maintain Central City Opera's historic properties and garden, email us at [email protected].

Megan and Michael talk about connecting more deeply with their neighbors and making music on their front porches during this prolonged period at home during the pandemic. Jason Hicks, their neighbor/the front man of the acclaimed Blue Canyon Boys, even joined them as a featured artist on our #CCOAlFresco concert series! Read more about Jason and the Blue Canyon Boys at bluecayonboys.com.

**Easter egg alert!** Check out a secret performance of Megan Marino's French opera/"Pure Imagination" mashup referenced in the interview here.

All four of these guests have appeared on the podcast in the past. Check out John's episodes (Season 4, Episode 3 - BILLY BUDD; Season 3, Episode 5 - IL TROVATORE; Season 2, Episode 8 - COSI FAN TUTTE; and Season 1, Episode 2 - TOSCA). Find Brian's past episode here (Season 1, Episode 19), Megan's past episode here (Season 2, Episode 13 - COSI FAN TUTTE) and Michael's past episodes here (Season 2, Episode 12 - CARMEN and Season 1, Episode 7 - TOSCA).

Guest host and Central City Opera Director of Production Karen T. Federing interviews Soprano Emily Pulley and Baritone Jonathan Hays on the porch of the historic Pink House in Central City. Emily and Jonathan talk about their history with Central City as young artists and principal singers, how the pandemic has affected their lives, and about volunteering to spend the lockdown helping us maintain historic properties in Central City. This interview is recorded outdoors, and you'll hear all the ambient sounds of beautiful Central City: wind, a dog barking, bird calls, even the occasional car motor. Watch the video version of this interview on the new Opera Central series at centralcityopera.org.

Emily Pulley and Jonathan Hays both sing concerts for our CCO Al Fresco concert series this summer. Episodes are released digitally every Wednesday through July and August. Watch now at centralcityopera.org/ccoalfresco

Want to pitch in to help us maintain our historic properties like Emily and Jonathan or volunteer for Central City Opera in another area? Contact us at [email protected].

About the interview location: the Pink House, previously known as the McGlone House, was built between 1880 and 1895. Former Central City Opera Artistic Director John Moriarty bought the house from the McGlones in 1983, and he resided there throughout many Festivals before donating it to the company when he shifted to Artistic Director Emeritus in 2012. Perched on the hill above the Opera House, the house has been known for its beautiful gardens. These days, the Pink House is used for housing production staff during the summer Festival season.

Curt Olds, mentioned several times in this interview, is a fellow Central City Opera regular and past Bonfils-Stanton Foundation Artist. You might remember him as Director/Curator/Soloist in ENCORE: A Musical Revue at Central City Opera in 2018 and 2019. He's currently performing in Seoul, South Korea in the world tour of The Phantom of the Opera, which is managing cautious, pandemic-era performances.

Both Emily and Jonathan have performed extensively with Central City Opera for many years beginning with their time in the Bonfils-Stanton Foundation Artists Training Program as young artists. View photos of their most recent roles with the company at centralcityopera.org. Emily Pulley, Carmen in CARMEN, 2017; Jonathan Hays, Donald in BILLY BUDD, 2019.