tag:blogger.com,1999:blog-56303566005373822122024-03-19T01:47:28.820-07:00Seattle Opera BlogSeattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.comBlogger1351125tag:blogger.com,1999:blog-5630356600537382212.post-40521031175193671212024-01-30T10:19:00.000-08:002024-01-30T10:33:20.495-08:00Jubilee Synopsis<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhadDHMGKbZTqISYeWSplSfSHGRIf3u0J5PprMZHp0LvgesfWxX8Xwiy2Bo0kspDtZUH9WbI3rcH_X7M1ZU7KOmsKQOB1gyJ71zZ2C4IsDvmSchJPMXbX9ExydIZbRVP5QU42rpPnqoNqjimaTLFc0d14NKQ6gKw-UGKUyGfgw5wwlf3kpBNkOqLQEwtg/s1600/blog_jubilee-synopsis_philip-newton.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="674" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhadDHMGKbZTqISYeWSplSfSHGRIf3u0J5PprMZHp0LvgesfWxX8Xwiy2Bo0kspDtZUH9WbI3rcH_X7M1ZU7KOmsKQOB1gyJ71zZ2C4IsDvmSchJPMXbX9ExydIZbRVP5QU42rpPnqoNqjimaTLFc0d14NKQ6gKw-UGKUyGfgw5wwlf3kpBNkOqLQEwtg/s1600/blog_jubilee-synopsis_philip-newton.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Philip Newton<br /></td></tr></tbody></table>
<p><b>Created and directed by Tazewell Thompson<br/>
Vocal arrangements by Dianne Adams McDowell<br/>
Orchestrated by Michael Ellis Ingram</b></p>
<p><b>Nineteenth century. A theater in Nashville, Tennessee.</b> Thirteen members of The Fisk Jubilee Singers are gathering behind the curtain in vocal warmups, preparing to perform their concert of Spirituals. Post show, the singers retreat to the old military barracks set aside by northern abolitionists to house former slaves, now students and teachers of The Fisk Colored School. Eventually changed to Fisk University.</p>
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<p>While turning over the earth in their pitiful vegetable garden, their excavation makes a gruesome discovery. Buried beneath the surface of the ground, instruments of slavery and bondage: chains; manacles; shackles; harnesses; iron masks and mouth muzzles. The singers sell them for Bibles and spellers. To raise funds for their school, the singers sing at a ladies’ tea, in a fashionable part of Nashville.</p>
<p>They sing for funds in small towns and street corners, through all kinds of weather. Stranded at a railway depot, a jeering white mob attack the singers and beat them, mercilessly. Undaunted, the singers pack their meager belongings and continue their fundraising tours. In a church basement practice hall rehearsal, the singers receive news of an invitation from Queen Victoria to sing at a command performance in England. The singers rehearse their program for the Queen.</p>
<p><b>Intermission</b></p>
<p>The Fisk Jubilee Singers arrive in London and, at Buckingham Palace, perform for Queen Victoria. They return home to Tennessee by ship, train, and horse-drawn carriage. In the following years, the men sing at the Apollo Theater in Harlem, NYC. The women sing at a special church service. The singers gather and listen, as a first recording of The Fisk Jubilee Singers is released. In the epilogue we hear their individual postmortems.</p>
<p> <br/><i><a href="https://www.seattleopera.org/jubilee">Jubilee</a></i> runs October 12-25, 2024 at McCaw Hall. Tickets and info at <a href="https://www.seattleopera.org/jubilee">seattleopera.org/jubilee</a>.<br/> </p>Seattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.com0tag:blogger.com,1999:blog-5630356600537382212.post-2950509571553278012024-01-12T13:17:00.000-08:002024-01-12T13:17:51.239-08:00X: The Life & Times of Malcolm X Synopsis<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIevrsv1WdgY5j9yhPlUvPUFTTkeCQZ75hI_XKQQ6W5Kxrwr_gbYiHqj2IPNY133LEkzHw0nUoIYTgVAiNvFfK_9dOMMd0z70098XuH5Qo7pnhQ19nMoczQ5p02wYSfRXQTVjhecp3i6Zeo1WrKJ6TKkqjPWn1jV5vXZb5MvEgP_NCKfcvq7lnFT9Dmw/s1600/blog_malcolm-x-synopsis_micah-shumake.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="667" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIevrsv1WdgY5j9yhPlUvPUFTTkeCQZ75hI_XKQQ6W5Kxrwr_gbYiHqj2IPNY133LEkzHw0nUoIYTgVAiNvFfK_9dOMMd0z70098XuH5Qo7pnhQ19nMoczQ5p02wYSfRXQTVjhecp3i6Zeo1WrKJ6TKkqjPWn1jV5vXZb5MvEgP_NCKfcvq7lnFT9Dmw/s1600/blog_malcolm-x-synopsis_micah-shumake.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Micah Shumake<br /></td></tr></tbody></table>
<p>Music by Anthony Davis<br/>Libretto by Thulani Davis<br/>Story by Christopher Davis</p>
<h3>ACT I</h3>
<p><b>Scene 1: 1931, Lansing, Michigan</b><br/>At the home of Reverend Earl</p>
<p>Little and his wife Louise, a meeting is taking place of the local chapter of Marcus Garvey's Universal Improvement Association, and Rev. Little is late. Louise has been tense all day and members of the meeting are concerned about active white supremacist groups terrorizing local people.</p>
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<p>Louise remembers past attacks that haunt her. A policeman arrives to say that Rev. Little was killed in a streetcar accident. The neighbors ponder what may have really happened and Louise becomes distraught, sings to herself, and shortly becomes unreachable. A social worker comes to the home sometime later and declares the Little children to be wards of the state. Malcolm tries to reach his mother who does not react to him. (She is hospitalized.) His older half-sister appears to take him to her home in Boston.</p>
<p><b>Scene 2: About 1940</b>, Boston</p>
<p>Still very much a country boy, Malcolm is introduced to Ella's middle-class black Boston, and through his discovery of the music there, finds himself in the local after-hours life, with his guide, a character named Street. But as a young adult, he gets involved with some people who rob a wealthy home, and he is arrested.</p>
<p><b>Scene 3:</b></p>
<p>In an interrogation room, Malcolm reveals the anger over the troubles that have long plagued people like him.</p>
<h3>ACT II</h3>
<p><b>Scene 1: 1946-48</b></p>
<p>Malcolm broods in jail when his brother Reginald comes to visit. Reginald tells him about Elijah Muhammad, leader of the Nation of Islam, whose teachings he thinks will help his brother. Malcolm begins to study the Nation's teachings and to read many books. He becomes a serious and more hopeful man. Malcolm X is born.</p>
<p><b>1952</b></p>
<p>The jail recedes as Malcolm hears and then sees Elijah. It is as if the word removed the bars. They come face to face. Elijah embraces Malcolm like a son. He tells him he has much to learn, to spread Allah's word, and sends him out to start temples. He is an electrifying speaker.</p>
<h4>INTERMISSION</h4>
<p><b>Scene 2: 1954-63</b></p>
<p>Malcolm begins his ministry, helping to found temples in Boston, Philadelphia, Springfield, Hartford, Atlanta, and New York. This scene spans several years in telescopic fashion. The period includes some of the heights of the civil rights era and closes with the assassination of President John F. Kennedy. Malcolm is seen speaking on various Harlem street corners as time passes. He always takes the crowd.</p>
<p><b>Scene 3:</b></p>
<p>Malcolm warms to his task when speaking before more and more exuberant crowds and decries some of the peaceful protests in the South as Malcolm defines his own political position.</p>
<p><b>Scene 4:</b></p>
<p>He leads an anthem declaring "We are a nation." At the end he is asked about Kennedy's death and makes a remark lacking in sensitivity to the nation's mourning. Elijah is enraged.</p>
<p><b>Scene 5:</b></p>
<p>Malcolm and Betty briefly discuss his upcoming meeting with Elijah. They express the hope that their children will be free to dream without fear.</p>
<h3>ACT III</h3>
<p><b>Scene 1: 1963</b></p>
<p>Malcolm is called to see Elijah, who is both disturbed that this spokesman for the Nation may have put the organization in jeopardy and that he may have become too powerful. Malcolm is disparaged by other Muslims as he comes to the meeting. The Nation is splintering into vying factions. Elijah silences Malcolm for three months and Malcolm consents to the will of his leader.</p>
<p><b>Scene 2:</b></p>
<p>He visits with his family, disheartened by the turmoil dividing his community and reporters hounding his every step. Betty hands him a ticket and tells him to go to Mecca, to spend time alone, and find his way. He decides to simply trust in Allah and ask for His help.</p>
<p>Malcolm is in Mecca, dressed in the simple cloths of a hajji, and awaiting word as to whether he will be permitted in as a convert and not a man born in Islam. The call to morning prayer is heard and people there begin to go through the traditional motions of prayer, which are new to him. He watches, imitates the others, and tries to learn the orthodox ritual. He has a larger vision of people across the world united together in faith, rather than by a single ideology.</p>
<p><b>Scene 3: 1964-65</b></p>
<p>Just before he returns to Harlem, a riot breaks out there. He returns, now a changed man, but outwardly the same. He is greeted by reporters who question him about the rioting.</p>
<p><b>Scene 4:</b></p>
<p>Later, he delivers a speech before his own newly formed group, the Organization of Afro-American Unity. He tells his supporters what he has learned in Africa—that they are a part of a larger movement against colonialism and racism. He is warned of death threats. He is not concerned with the fear so evident around him.</p>
<p><b>Scene 5:</b></p>
<p>He arrives to give a speech at the Audubon Ballroom in Harlem. After greeting his audience, he is gunned down.</p>
<p> <br/><i><a href="https://www.seattleopera.org/x">X: The Life and Times of Malcolm X</a></i> runs Febuary 4-March 9, 2024 at McCaw Hall. Tickets and info at <a href="https://www.seattleopera.org/x">seattleopera.org/x</a>.<br/> </p>Seattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.com0tag:blogger.com,1999:blog-5630356600537382212.post-67793671174046658592023-12-01T10:24:00.000-08:002023-12-01T10:24:59.434-08:00Competition Announcement: Malcolm X Arts & Writing Competition<style>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjufZgThTy9v50okeTkEf0fIM4WpAB7XTYAv3PkRVKmrty9yB26fsd8ghNCWaKdVs2yJAgMUIu7498HMpcFBo4HpF_Jm1_lF2iF9VnZOPAvRj3BnzPDpRIC4mNBj0L4upreH4rNy-FoBetMY3MOrwFSfixoC__rX2oyOwx5e-rFB9Htl_y7v7NwLnsHPg/s1600/blog_malcolm-x_eve-arnold.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="1466" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjufZgThTy9v50okeTkEf0fIM4WpAB7XTYAv3PkRVKmrty9yB26fsd8ghNCWaKdVs2yJAgMUIu7498HMpcFBo4HpF_Jm1_lF2iF9VnZOPAvRj3BnzPDpRIC4mNBj0L4upreH4rNy-FoBetMY3MOrwFSfixoC__rX2oyOwx5e-rFB9Htl_y7v7NwLnsHPg/s1600/blog_malcolm-x_eve-arnold.jpg" width="400"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">USA. Illinois. Chicago. Malcolm X during his visit to enterprises owned by Black Muslims. 1962.<br/>© Eve Arnold/Magnum Photos<br /></td></tr></tbody></table>
<p>This spring, Seattle Opera is presenting the West Coast premiere of <i><a href="https://www.seattleopera.org/x">X: The Life and Times of Malcolm X</a></i>. To encourage students to celebrate and engage with this work and Malcolm X’s legacy, we have created this competition for high school juniors and seniors in Washington State. All students, including home-school and charter students, are invited to submit their essays, poems, and visual artwork responding to the following prompt:</p>
<p class="competition-question"><i>What aspect of Malcolm X’s legacy has had the greatest impact on our society today?</i></p>
<p>The first-place winner in each category will be awarded $500. The first-place winners and first runners up for each category will be invited to present their submissions before one of Seattle Opera’s performances of <i>X: The Life and Times of Malcolm X</i> at McCaw Hall, and their submissions will be showcased in McCaw Hall during the entire run of the opera, February 24—March 9, 2024.</p>
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<p>The submission deadline is January 22, 2024, at 11:59 PM.</p>
<p>Seattle Opera accepts online submissions only. Students may only enter in one category. There is no fee to enter. </p>
<h2>Competition Rules</h2>
<h4><br/>Essay Rules</h4>
<ol><li>Entries must respond to the prompt.</li>
<li>Entries must be written in English.</li>
<li>Entries must be typed and submitted as a document or PDF.</li>
<li>Only one essay may be submitted per student.</li>
<li>Entries must be submitted online by January 22,2024 at 11:59 PM. Hard copy or late submissions will not be accepted.</li>
<li>Entries must be at least 300 words and should not exceed 500 words. Word count does not apply to works cited.</li>
<li>Citations may follow MLA, APA, or Chicago styles.</li></ol>
<h4><br/>Poem Rules</h4>
<ol><li>Entries must respond to the prompt.</li>
<li>Entries must have a title.</li>
<li>Entries can be written in any poetic style.</li>
<li>Entries must be written in English.</li>
<li>Only one poem may be submitted per student.</li>
<li>Entries must be at least 3 lines and cannot exceed 50 lines. The poem title does not count as a line.</li>
<li>To ensure proper lineation, please use the “Enter” key to start a new line, indicating all intentional line breaks.</li>
<li>All entries must be submitted online by January 22, 2024, at 11:59 PM. Hard copy or late submissions will not be accepted.</li></ol>
<h4><br/>Visual Art Rules</h4>
<ol><li>Entries must respond to the prompt.
<li>Entries must have a title.</li>
<li>Entries may be done in any style or medium within the range of visual arts (painting, sculpture, printmaking, ceramics, photography, drawing, illustration, graphics, digital art, motion design, collage, metal etching or punch work, or fiber work.)</li>
<li>Entries must not exceed 24 inches by 30 inches.</li>
<li>Entries must be submitted online via pictures or videos of the artwork. Digital artwork must be submitted as either a PNG, JPEG, PDF, or MP4.</li>
<li>Entries must be submitted online by January 22, 2024, at 11:59 PM.</li>
<li>First place winners and first runner up will be contacted for pick up of the artwork if it is a physical artwork.
<ul><li>All 2-D works must be packaged so that the artwork will not be damaged during pick up.</li>
<li>All 3D work must be self-supporting or mounted on their own bases.</li></ul></li></ol>
<h2><br/>Grounds for Disqualification</h2>
<p>Submissions that:</p>
<ol><li>do not comply with the rules listed above,</li>
<li>are not the student’s original, authored and/or created work,</li>
<li>provide false entry information,</li>
<li>plagiarize content, or</li>
<li>contain language that is vulgar, offensive, or wholly inappropriate.</li></ol>
<p>All decisions of disqualification will be final.</p>
<p> </p>
<p><a class="competition cta-btn" href="https://forms.gle/ZPMVDQ7XgYPXPcQ29">Submit Work</a></p>
<p> <br/><i><a href="https://www.seattleopera.org/x">X: The Life and Times of Malcolm X</a></i> runs Febuary 4-March 9, 2024 at McCaw Hall. Tickets and info at <a href="https://www.seattleopera.org/x">seattleopera.org/x</a>.<br/> </p>Seattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.com0tag:blogger.com,1999:blog-5630356600537382212.post-40183744115779817212023-10-30T12:50:00.002-07:002023-11-01T10:06:26.649-07:00Art Inspired by the Life of Malcolm X<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9TlyR04VMNhA3GaKgWwUtLCzkLQDjZEQu1Mnies3I2TkGb2g6cwj0IywAJFelGBmqRKde4Ii9Ihtgd8ZIi65TDt2BL3FP4JoT6dW76FFtcq3dARtMGj6rX3G8yGX9eUS58u7SVWIezH9kWEKMC8oaaBVBtfzdzMgYw8gvpD_tAUxMhnR65_P8DHLxQA/s1600/01_Harlem-New-York-Rally_1963.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="1474" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9TlyR04VMNhA3GaKgWwUtLCzkLQDjZEQu1Mnies3I2TkGb2g6cwj0IywAJFelGBmqRKde4Ii9Ihtgd8ZIi65TDt2BL3FP4JoT6dW76FFtcq3dARtMGj6rX3G8yGX9eUS58u7SVWIezH9kWEKMC8oaaBVBtfzdzMgYw8gvpD_tAUxMhnR65_P8DHLxQA/s1600/01_Harlem-New-York-Rally_1963.jpg" width="400"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Harlem, New York Rally, 1963<br/>© Gordan Parks Foundation<br /></td></tr></tbody></table>
<p>Malcolm X’s influence permeates American social, political, and cultural life. Many cities have a Malcolm X street, avenue, or boulevard. Plenty of schools, libraries, and other public buildings are named in his honor. What’s more, many artists have been inspired by the human rights leader’s life and philosophies. They have created music, visual art, plays, film, and literary works. Here are just a few examples of their artistic output.</p>
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<h3>Sculpture</h3>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHkWvNo8XkjS9LNK4onUklFkXftmwrA9rkJyrcK3h5BPo80xRy8M0bigUC2JYHkMUC6JQ8u_TOdmLCQz4fUHQ8BAo6QFsSYglSnxncnv_TsZ07cKqD-dEFaey_XS0tBpK0aQDfmdtmoUIY8z6tIVnNlJUjFxo0KtHUxosdfx8Tyrw0AoOH1jSgvA1gKw/s1600/02_Malcolm-16-and-3_Barbara-Chase_Riboud.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="700" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHkWvNo8XkjS9LNK4onUklFkXftmwrA9rkJyrcK3h5BPo80xRy8M0bigUC2JYHkMUC6JQ8u_TOdmLCQz4fUHQ8BAo6QFsSYglSnxncnv_TsZ07cKqD-dEFaey_XS0tBpK0aQDfmdtmoUIY8z6tIVnNlJUjFxo0KtHUxosdfx8Tyrw0AoOH1jSgvA1gKw/s1600/02_Malcolm-16-and-3_Barbara-Chase_Riboud.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">(left) Malcolm X 16, 2016 (right) Malcolm X #3, 1969<br/>© Barbara Chase-Riboud<br /></td></tr></tbody></table>
<p>Over the course of 40 years, award-winning American-born visual artist, sculptor, novelist, and poet Barbara Chase-Riboud created a set of <i>20 Malcolm X stelae</i>—monumental sculptures—of metal and fibers. Chase-Riboud’s technique and materials are an interplay between folds of cast bronze and aluminum with coils of wool and silk that are knotted, braided, looped, and woven. Her work juxtaposes constracting textures: soft versus hard, light against heavy, and tactile alongside rigid. Chase-Riboud has said she decided to dedicate the works to Malcolm X “because he was dead. It was a matter of memory, of doing a monument—not to his philosophy, but in the Latin sense of <i>memoria</i>. The work is pure abstraction, pure beauty—that’s the only thing I’m really interested in. Most activism sacrifices the aesthetic part of making art for the message. I never do that. For me, the message is the message.”</p>
<h3>Poetry</h3>
<p>Dozens and dozens of poets have attempted to capture the spirit of Malcolm X in their writings. Soon after his death, Broadside Press published a collection of poems. <i>For Malcolm: Poems on the Life and Death of Malcolm X</i> includes almost sixty pieces about his life, death, and the aftermath of his assassination. The book features the writings of Gwendolyn Brooks, Robert Hayden, Conrad Kent Rivers, Edward S. Spriggs, and many others.</p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvrJnd_gZOIouSy1jAb4IbtbS8BI8KssvR3uwXJsdYiGwVvjmTZR728VQ4dILjZX40xDAtBK98-cbGsfVuw89CCRDMCkO_hiOdNMOB7SDoOGiO2SmIimdDaNFHpvPfUXOThJ-v6yQ87riHszkkjzVnEk1x04KrIyDBd9zVsVZHn0oKoq0uHVHESB5WuQ/s1600/03_Gwendolyn-Brooks.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="647" data-original-width="970" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvrJnd_gZOIouSy1jAb4IbtbS8BI8KssvR3uwXJsdYiGwVvjmTZR728VQ4dILjZX40xDAtBK98-cbGsfVuw89CCRDMCkO_hiOdNMOB7SDoOGiO2SmIimdDaNFHpvPfUXOThJ-v6yQ87riHszkkjzVnEk1x04KrIyDBd9zVsVZHn0oKoq0uHVHESB5WuQ/s1600/03_Gwendolyn-Brooks.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Gwendolyn Brooks (1917–2000) is one of the most influential and widely read American poets of the 20th-century. The author of more than 20 books, she was also the first Black poet to win the Pulitzer Prize and the first Black woman to be named Poet Laureate to the Library of Congress.<br/>© Poetry Foundation<br /></td></tr></tbody></table>
<h4>Malcolm X</h4>
<p>By Gwendolyn Brooks<br/>
For Dudley Randall</p>
<p><i>Original.<br/>
Hence ragged-round.<br/>
Hence rich-robust.<br/>
He had the hawk-man’s eyes.<br/>
We gasped. We saw the maleness.<br/>
The maleness raking out and making guttural the air<br/>
And pushing us to walls.</i></p>
<p><i>And in a soft and fundamental hour<br/>
A sorcery devout and vertical<br/>
Beguiled the world.</i></p>
<p><i>He opened us —<br/>
Who was a key.</i></p>
<p><i>Who was a man.</i></p>
<p class="tr-caption"><i>For Malcolm X: Poems on the Life and the Death of Malcolm X</i>, edited by Dudley Randall and Margaret G. Burroughs, Broadside Press, 1969</p>
<h3>Theatrical Works</h3>
<p>Likewise, numerous playwrights have written and staged pivotal points of Malcolm X’s life—some true and some fictionalized. These plays have been presented across the US and the globe.</p>
<h4>The Meeting</h4>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglfLK_akHZYUllfUS4Ful6_8E-3O5puq5ELMw4UxMGXSR0WzV5BKKdklyXhezOt_WxN5XnOj6JsuoA7mRsaho7gW7dby5nVbaexsfUzABz67zVRZMna11yzMptw2fxnxmeYn5dpbkd9OlqAwYKQbpA5DPenhPjGlXzHuyFWn1YXnnuRZ9EbG_YDNZX6A/s1600/04_The-Meeting.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="624" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglfLK_akHZYUllfUS4Ful6_8E-3O5puq5ELMw4UxMGXSR0WzV5BKKdklyXhezOt_WxN5XnOj6JsuoA7mRsaho7gW7dby5nVbaexsfUzABz67zVRZMna11yzMptw2fxnxmeYn5dpbkd9OlqAwYKQbpA5DPenhPjGlXzHuyFWn1YXnnuRZ9EbG_YDNZX6A/s1600/04_The-Meeting.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Point Loma Playhouse<br /></td></tr></tbody></table>
<p><i>The Meeting</i> is a compelling play by writer Jeff Stetson written in 1987. It depicts the supposed meeting of two of the most important men of modern times—Malcolm X and Dr. Martin Luther King, Jr. Differing in their philosophies, but alike in their mutual respect, the two men debate their varying approaches to the same grave social problems. Together, they both realize that they are prepared to die for their beliefs.</p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5Kd3syZAJaqoq5i9UEYjfYAl_1YFSvtfDs5wYrmSBB2CmCUAiXS1lDZsmoVu_2FmcuMpm8E_w13TI0o8sNrx-R7FvFigCgO4aBS1oWpUxXMdLV_fKOZXNmL1qZczsGO6EDMM7aF__JWFIW1dYbj0M87dS3tR9I9NCPK_Z4n62nNQ_rxXx6PfiK5cRyw/s1600/05_MLK-Jr_Malcolm-X.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="871" data-original-width="650" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5Kd3syZAJaqoq5i9UEYjfYAl_1YFSvtfDs5wYrmSBB2CmCUAiXS1lDZsmoVu_2FmcuMpm8E_w13TI0o8sNrx-R7FvFigCgO4aBS1oWpUxXMdLV_fKOZXNmL1qZczsGO6EDMM7aF__JWFIW1dYbj0M87dS3tR9I9NCPK_Z4n62nNQ_rxXx6PfiK5cRyw/s1600/05_MLK-Jr_Malcolm-X.jpg" width="400"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Otto Bettmann via Corbis<br /></td></tr></tbody></table>
<p>In reality, the two men only met once, while in Washington, D.C., to watch the Senate debate the passing of the Civil Rights Act of 1964. On March 26, 1964, X and King spoke briefly with each other as they walked through the United States Senate. They were together for about a minute.</p>
<h4>El Hajj Malik (El Shabazz)</h4>
<p><i>El Hajj Malik (El Shabazz)</i> is semi-documentary drama. The play’s title is the name given to Malcolm upon his pilgrimage to Mecca in 1964. The drama brings to the stage material contained in Alex Haley’s <i>The Autobiography of Malcolm X</i> and <i>Malcolm Speaks</i>, a collection of speeches by the human rights leader edited by George Breitman. It just so happened that Christopher Davis, the brother of composer Anthony Davis, starred in a production of the play. It sparked the brothers and their cousin, Thulani Davis, to develop an opera about the human rights leader.</p>
<h4>When the Chickens Came Home to Roost</h4>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWp2fFT9Ot6gybqzJQGPF11BHVuEH4T9o0wIM9gnJsDus72yLGLkn6-czvNq_7DTSbUOscwS60yQ-CnMJcL8gN8yqgnEZiVWi6LRPZX6tuDmcslmAeYbMhz1Umbv8REYQgksEPQzG5IoI3ImTzl_cd2J5PwUXrG1W4iJw23s38E2f1-Eod3VYkiciD7g/s1600/06_when-the-chickens-came-home-to-roost.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="600" data-original-width="858" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWp2fFT9Ot6gybqzJQGPF11BHVuEH4T9o0wIM9gnJsDus72yLGLkn6-czvNq_7DTSbUOscwS60yQ-CnMJcL8gN8yqgnEZiVWi6LRPZX6tuDmcslmAeYbMhz1Umbv8REYQgksEPQzG5IoI3ImTzl_cd2J5PwUXrG1W4iJw23s38E2f1-Eod3VYkiciD7g/s1600/06_when-the-chickens-came-home-to-roost.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Maryland Theatre Review/Mark Shorts<br /></td></tr></tbody></table>
<p>The play by Laurence Holder is set at the headquarters of the Nation of Islam and dramatizes a pivotal period between Malcolm X and Elijah Muhammad—the disintegration of one of the most important relationships in African American history. The drama’s title comes from the comment made by Malcolm X about the assassination of President John F. Kennedy on November 22, 1963.</p>
<h3>Music—Jazz</h3>
<h4>Christian McBride</h4>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEI1ot3iBhKVFOcohSwf-9ujK8-dKxM-CaksnragpBB8Yd6ZtK68iVhLRqlIVYCcYM7aiS2xAZE-ksubWrcgReZUYg8ulw-T7IyeNOh9NhzEWFE49-jaRslYmnz7nEn7W69EMAADXeFR8oqbcc_D4Vxwgcq4Mvt3KgvHyShMzrDk8vzjM5NhTOmzS3wg/s1600/07_Christian-McBride.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="748" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEI1ot3iBhKVFOcohSwf-9ujK8-dKxM-CaksnragpBB8Yd6ZtK68iVhLRqlIVYCcYM7aiS2xAZE-ksubWrcgReZUYg8ulw-T7IyeNOh9NhzEWFE49-jaRslYmnz7nEn7W69EMAADXeFR8oqbcc_D4Vxwgcq4Mvt3KgvHyShMzrDk8vzjM5NhTOmzS3wg/s1600/07_Christian-McBride.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bassist and composer Christian McBride<br /></td></tr></tbody></table>
<p><i>The Movement Revisited: A Musical Portrait of Four Icons</i> is an oratorio comprised of four movements by Grammy Award-winning bassist and composer Christian McBride. The work pays homage to Rosa Parks, Malcolm X, Muhammad Ali, and Dr. Martin Luther King Jr. Composed in 1998 for small jazz combo, McBride expanded the composition ten years later for big band. The opus features the words of Parks, X, Ali, and King combined with gospel choir, and vocal and instrumental soloists. The original composition premiered in 2008, a few months before Barack Obama was elected US president. After Obama’s election, McBride visited the piece again, adding a fifth movement. This time the composer incorporated words from of the 44th president’s inaugural speech.</p>
<h3>Music—Hip Hop</h3>
<p>No other art form has embraced the philosophies and persona of Malcolm X’s than hip-hop. Rap artists of all styles have mixed their lyrics and beats with samples of Malcolm’s words. To many, he is the greatest and most influential African American in history.</p>
<h4>Public Enemy</h4>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFyw9cV1rLO6T6OxdmCJemm_DVXQ3viNfZtqEMgQ7txsH8wjnfj79buNDlp_cleOD2WnGRHXs5c_xun-qBzVLk60zW8qQJiEyW1i1RwgYEz37mwCejaJiEOYSpPn72iJI3lkkclG5dLzW3NIF7La3LMTH4vRwDCF10RYG8RdPonmPdJFy0nbAdi0o9Kw/s1600/08_public-enemy.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="467" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFyw9cV1rLO6T6OxdmCJemm_DVXQ3viNfZtqEMgQ7txsH8wjnfj79buNDlp_cleOD2WnGRHXs5c_xun-qBzVLk60zW8qQJiEyW1i1RwgYEz37mwCejaJiEOYSpPn72iJI3lkkclG5dLzW3NIF7La3LMTH4vRwDCF10RYG8RdPonmPdJFy0nbAdi0o9Kw/s1600/08_public-enemy.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Mikael ‘Mika” Väisänen<br /></td></tr></tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><iframe width="640" height="360" src="https://www.youtube.com/embed/am9BqZ6eA5c?si=ZKa46Lx8jC7eYa6t" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></td></tr><tr><td class="tr-caption" style="text-align: center;">“Can’t Truss It”<br /></td></tr></tbody></table>
<p>In 1991, Public Enemy released a critical acclaimed album. <i>Apocalypse 91… The Enemy Strikes Black</i> reached No. 2 in The Village Voice critics’ poll and Rolling Stone said the album was “nothing short of setting a sociopolitical agenda for the black community.”</p>
<h4>KRS ONE</h4>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglLRcIODdJqiGhXEIq9wEsVfn1yujzxtOWJsRpBz_26B2bG4Y7ypSzYukRUtQiqkLtlQ01KC1XKp-DhOdxxRQl-OJu60ZgeCIyO8rI65E-W8Ap1APH1maYytg4SkwjFRlJ4WxcAgB9mrzqOfCUoNZrb1pdF2csyAuF86phK_wCiD3GCJIy3gvI0J4I3g/s1600/09_krs-one.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="562" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglLRcIODdJqiGhXEIq9wEsVfn1yujzxtOWJsRpBz_26B2bG4Y7ypSzYukRUtQiqkLtlQ01KC1XKp-DhOdxxRQl-OJu60ZgeCIyO8rI65E-W8Ap1APH1maYytg4SkwjFRlJ4WxcAgB9mrzqOfCUoNZrb1pdF2csyAuF86phK_wCiD3GCJIy3gvI0J4I3g/s1600/09_krs-one.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Getty Images<br /></td></tr></tbody></table>
<p>By All Means Necessary</p>
<p>The cover art for “By All Means Necessary” was inspired by the famous photograph that shows Malcolm X holding a rifle soon after his home was firebombed, KRS One and Boogie Down Productions created a cover photo and title as an homage to legendary icon. The album was released in 1988. By the way, KRS stands for Knowledge Reigns Supreme.</p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMKwzcTNooPfFiKCnhxbLmk_zCbHowud4BA7qf7RkgOvkLxWjZh7RbIRWnOSVRDinRpbqAzRWSDRYKzoLnTjbyemiILNM0ZRzv5VRYGvL9WP5rcNJkdk25_Q-_ufpoRU-1CisrShHl2w0Tr_jU8VpGgs3VROLqoepAAB0ei0t8Aei4xMOMDQLUL79RKA/s1600/10_by-all-means-necessary_krs-one.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="300" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMKwzcTNooPfFiKCnhxbLmk_zCbHowud4BA7qf7RkgOvkLxWjZh7RbIRWnOSVRDinRpbqAzRWSDRYKzoLnTjbyemiILNM0ZRzv5VRYGvL9WP5rcNJkdk25_Q-_ufpoRU-1CisrShHl2w0Tr_jU8VpGgs3VROLqoepAAB0ei0t8Aei4xMOMDQLUL79RKA/s1600/10_by-all-means-necessary_krs-one.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">(left) Fearing another assassination attempt, Malcolm peers through his window while holding an M1 carbine rifle.<br/>© Life/Don Hogan Charles<br/>(right) Accompanied by minimal production and hard-hitting drum beats, <i>By All Means Necessary</i> covers socials issues ranging from police corruption to government involvement in the drug trade to safe sex, and violence in the hip-hop community.<br/>© KRS One/Jive Records, RCA<br /></td></tr></tbody></table>
<h4>Gang Starr</h4>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihU5__pZOkvDmyMvSMHbdh8pGTG-Et-uJuGZGZaYwWBBAYIuSSOkmOF-Mm2kjKYzqTm8cxB0ohPPFgOkSmdB-BlHQTMvF42CHfsAa2Btbnb-hoZqFcdNvo6xe2twA70GVAIIqb-el7kKG0F6uFbLZQ_wfYGUeAgihHXWkSXq7s73LPuXU9QUEas2ltzA/s1600/11_Gang-Starr.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="563" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihU5__pZOkvDmyMvSMHbdh8pGTG-Et-uJuGZGZaYwWBBAYIuSSOkmOF-Mm2kjKYzqTm8cxB0ohPPFgOkSmdB-BlHQTMvF42CHfsAa2Btbnb-hoZqFcdNvo6xe2twA70GVAIIqb-el7kKG0F6uFbLZQ_wfYGUeAgihHXWkSXq7s73LPuXU9QUEas2ltzA/s1600/11_Gang-Starr.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Martyn Goodacre via Getty Images<br /></td></tr></tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><iframe width="640" height="360" src="https://www.youtube.com/embed/bjCHXJA9D9E?si=H9usL-bHRarfx006" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></td></tr><tr><td class="tr-caption" style="text-align: center;">“Tonz ‘O’ Gunz”<br /></td></tr></tbody></table>
<p>Record producer DJ Premier and rapper Guru formed Gang Starr, one of the best MC-and-producer duos in hip hop history. They are recognized as pioneers of <a href="https://timeline.carnegiehall.org/genres/jazz-hip-hop-fusion">jazz rap</a>. The “Tonz ‘O’ Gunz” track features excerpts from Malcolm’s “Fire and Fury Grass Roots” speech.</p>
<h3>Music—Motown</h3>
<h4>Martha and the Vandellas</h4>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijrAl1fkLVDYmzFRikdyb_wzUjYtxku1XBTBlNz3zjp_ib9En5n4MbkRfwSVw0C46vVgNHPoLjY9e-jHxpl3HThy3w85rj8e2AJt4cqz2AWekWASTbb7ZLuou2czpqmuIA3SoyoJN8Wgk1908Cb53f860Pi9EgLYZH9dt8DUCgcGnm7qpzOr0uko2CPg/s1600/12_martha-and-the-vandellas.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="439" data-original-width="780" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijrAl1fkLVDYmzFRikdyb_wzUjYtxku1XBTBlNz3zjp_ib9En5n4MbkRfwSVw0C46vVgNHPoLjY9e-jHxpl3HThy3w85rj8e2AJt4cqz2AWekWASTbb7ZLuou2czpqmuIA3SoyoJN8Wgk1908Cb53f860Pi9EgLYZH9dt8DUCgcGnm7qpzOr0uko2CPg/s1600/12_martha-and-the-vandellas.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Evening Standard<br /></td></tr></tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><iframe width="640" height="360" src="https://www.youtube.com/embed/J7xrmAQ8wMs?si=xJlUHxRCfOn5o6pA" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></td></tr><tr><td class="tr-caption" style="text-align: center;">“Dancing in the Street”<br /></td></tr></tbody></table>
<p>“Dancing in the Street” was released in the summer of 1964—Freedom Summer. That summer thousands of volunteers campaigned throughout Mississippi in attempt to register African Americans to vote. Thousands were arrested, churches were bombed, and three civil rights workers were murdered. That summer was also when Malcolm X declared “We want freedom by any means necessary.” Considered a summer party song, many young activists heard “Dancing in the Street” as a call to action. Lyrics such as “Calling out around the world,” and “Summer’s here and the time is right” were interpreted as rallying cries to mobilize. For better or worse, the song became the anthem for demonstrations and riots across the country.</p>
<h3>Television</h3>
<h4>One Day When I Was Lost</h4>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhulD9wgt_TAWU9wsOKuYS6g38nO6eKgvkaoQbk3HYUlpTbRqZWIgoQxsLJwU_s4dyoa21DvpeJi96rk-BXcYAlxUNQbRxoOJjikTxTGN_lgsK3hTgphOgXDyp8VIxZnDiWs22cokXtNt0hZ9n83Ik68Du8qd7jh9bR6c60oe-jIAdnQRnxCw4HGNAfzQ/s1600/13_One-Day-When-I-Was-Lost.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="632" data-original-width="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhulD9wgt_TAWU9wsOKuYS6g38nO6eKgvkaoQbk3HYUlpTbRqZWIgoQxsLJwU_s4dyoa21DvpeJi96rk-BXcYAlxUNQbRxoOJjikTxTGN_lgsK3hTgphOgXDyp8VIxZnDiWs22cokXtNt0hZ9n83Ik68Du8qd7jh9bR6c60oe-jIAdnQRnxCw4HGNAfzQ/s1600/13_One-Day-When-I-Was-Lost.jpg" width="400"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Vintage International<br /></td></tr></tbody></table>
<p><i>One Day When I Was Lost</i> is an unproduced television drama from one of the country’s great writers. James Baldwin based the screenplay on Alex Haley’s <i>The Autobiography of Malcolm X</i>. <i>The Times Literary Supplement</i> hailed the work as “Sharp…. Precise…. There is no questioning the depth and sincerity of Baldwin’s admiration for Malcolm X.” The manuscript was published in 1969.</p>
<h3>Film</h3>
<h4>One Night in Miami</h4>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMvgQQ4_gXMPz_UTCk2HZx7ClOyoA5eKG5F9qmJbt3I9e_eYr-CgtjHP6dY1sSo4M4fRWO8BMouEOVS3F-yt0SBHJKGD2MPCE3ilKZzLIhFETAPscp7_wKGPxZC3Ojitx7aH-J_1z9zqz3_bigHMMs0JZuOU33uiHXC11M8f_eDe3c5CWwnLHTTPLrlA/s1600/14_One-Night-in-Miami.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="417" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMvgQQ4_gXMPz_UTCk2HZx7ClOyoA5eKG5F9qmJbt3I9e_eYr-CgtjHP6dY1sSo4M4fRWO8BMouEOVS3F-yt0SBHJKGD2MPCE3ilKZzLIhFETAPscp7_wKGPxZC3Ojitx7aH-J_1z9zqz3_bigHMMs0JZuOU33uiHXC11M8f_eDe3c5CWwnLHTTPLrlA/s1600/14_One-Night-in-Miami.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Patti Perret/Amazon Prime Studios<br /></td></tr></tbody></table>
<p><i>One Night in Miami</i>, directed by Regina King in her feature film debut, is a fictional account of an incredible night where four icons—Malcolm X (Kingsley Ben-Adir), Cassius Clay (Eli Goree), Sam Cooke (Leslie Odom, Jr.), and Jim Brown (Aldis Hodge)—come together to discuss their roles in the civil rights movement. Based on Kemp Powers’ award-winning play of the same name, this riveting drama manages to capture the essence of each character’s struggle for justice and equality. The film received critical acclaim upon its release in 2020, with particular praise for its performances and Regina King’s direction.</p>
<h4>Malcolm X</h4>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdoUqt2nkSYacpXRShv6QlkTuwmtWPat00PWgOBqdpS9UxuuKrAaQI_g4pmE204SNaZG4-krGwUoheOXt-xy0HqGZhXhspCphH1FFkEByHsU5KIz3vX90tV_swKW67t0p2tpKUM5VxHZOKQIEiptWF9jkWWk3i_hKpivPOe9O9xKoY9clxOP6knYkC6g/s1600/15_Malcolm-X-1992.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="556" data-original-width="889" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdoUqt2nkSYacpXRShv6QlkTuwmtWPat00PWgOBqdpS9UxuuKrAaQI_g4pmE204SNaZG4-krGwUoheOXt-xy0HqGZhXhspCphH1FFkEByHsU5KIz3vX90tV_swKW67t0p2tpKUM5VxHZOKQIEiptWF9jkWWk3i_hKpivPOe9O9xKoY9clxOP6knYkC6g/s1600/15_Malcolm-X-1992.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Warner Bros./Photofest<br /></td></tr></tbody></table>
<p><i>Malcolm X</i> was released in 1992. Directed by Spike Lee, the film is a gripping biographical drama that delves deep into the life and transformation of the eponymous civil and human rights activist. Denzel Washington, who plays Malcolm, delivers a powerful performance, earning him an Academy Award nomination for Best Actor. The film explores the influential figure’s early life, his time in prison, conversion to Islam, and eventual rise as a prominent leader within the Nation of Islam. With its compelling narrative and intricate portrayal of racial tensions in America during the mid-twentieth century, <i>Malcolm X</i> has become a defining piece of cinema that continues to resonate with audiences today.</p>
<h4>Blood Brothers: Malcolm X & Muhammad Ali</h4>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS1RXQG__27M4Q4LZKRy_50FNy_h8lPfgONUi6lSYJHKchtGjx_mVGRfSvtr-iNpMW0XG5AyRWNHKeX8HW_ODT85rLpMqWEKlZkPBSuFKH0wBIDr0iYNH58jfP1Cylzn-TdiFJCKr19-HMYPbXoAtk9KEvP9NzcsP1UMAH6bFCXZZHYehYJ5vwWJc-ww/s1600/16_Blood-Brothers.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="563" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS1RXQG__27M4Q4LZKRy_50FNy_h8lPfgONUi6lSYJHKchtGjx_mVGRfSvtr-iNpMW0XG5AyRWNHKeX8HW_ODT85rLpMqWEKlZkPBSuFKH0wBIDr0iYNH58jfP1Cylzn-TdiFJCKr19-HMYPbXoAtk9KEvP9NzcsP1UMAH6bFCXZZHYehYJ5vwWJc-ww/s1600/16_Blood-Brothers.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Netflix<br /></td></tr></tbody></table>
<p><i>Blood Brothers: Malcolm X & Muhammad Ali</i> is an insightful documentary that looks at the complex relationship between Malcolm X and Muhammad Ali. Directed by Marcus A. Clarke and released in 2021, the film showcases unseen archival footage alongside interviews from close friends and family members. It deeply explores how X and Ali’s bond was forged through shared values but was ultimately strained due to political tensions within Nation of Islam. It sheds light on their personal lives while examining broader issues such as race relations, religion, and activism during a tumultuous time in American history.</p>
<p> <br/><i><a href="https://www.seattleopera.org/x">X: The Life and Times of Malcolm X</a></i> runs Febuary 4-March 9, 2024 at McCaw Hall. Tickets and info at <a href="https://www.seattleopera.org/x">seattleopera.org/x</a>.<br/> </p>Seattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.com0tag:blogger.com,1999:blog-5630356600537382212.post-90927335584545613912023-10-17T10:27:00.003-07:002023-11-20T10:04:03.643-08:00A Conversation with Kenneth Kellogg<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh47y6ps0yef8F2HfALhCpa3yOWFMSC6OGkTozWuozP44lHr2k0PyZokiKHzpCCc6YoCOjzWNVaTlxqTDNlt6TOBIT0Nk64572CzK_UC0jlMlplhsO_teufn9kxxM10c5WJZ4Chfl-1rA1ETgAZYT77OsB1hwiKkHUe_ASgqmTAAFpZusNCfEltYxhkHA/s1600/01_blog_kenneth-kellogg.jpg" style="display: block; text-align: center;"><img alt="" border="0" data-original-height="901" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh47y6ps0yef8F2HfALhCpa3yOWFMSC6OGkTozWuozP44lHr2k0PyZokiKHzpCCc6YoCOjzWNVaTlxqTDNlt6TOBIT0Nk64572CzK_UC0jlMlplhsO_teufn9kxxM10c5WJZ4Chfl-1rA1ETgAZYT77OsB1hwiKkHUe_ASgqmTAAFpZusNCfEltYxhkHA/s1600/01_blog_kenneth-kellogg.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Kenneth Kellogg<br /></td></tr></tbody></table>
<p>Bass Kenneth Kellogg, who recently gave a breakout performance as Fafner in our production of <i><a href="https://www.seattleopera.org/rheingold">Das Rheingold</a></i> in August, discusses his upcoming portrayal of Malcolm X in this conversation with Seattle Opera. Kenneth talks about his admiration for the human rights leader, the revival of Anthony Davis’s <i><a href="https://www.seattleopera.org/x">X: The Life and Times of Malcolm X</a></i>, and how he’s preparing for the role.</p>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrVE_N4F5-zxhKAdn92QOCTvRWEHHlGmkVeDdbTCPPwmKzwImVvbQafMp0sY4pZuLxSsTrizKBGlWA1Gcj4ngGkwzfFslhQtDnqhKsBntVQ1ApoluHSnoUUTabz0C8MlyHrInx6kYDTNb0c3A2NPCAgyNOImGw7AwZHALOTEQgmof8SckIn0LOUD5PZg/s1600/02_blog_kenneth-kellogg-blue.jpg" style="display: block; text-align: center;"><img alt="" border="0" data-original-height="533" data-original-width="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrVE_N4F5-zxhKAdn92QOCTvRWEHHlGmkVeDdbTCPPwmKzwImVvbQafMp0sY4pZuLxSsTrizKBGlWA1Gcj4ngGkwzfFslhQtDnqhKsBntVQ1ApoluHSnoUUTabz0C8MlyHrInx6kYDTNb0c3A2NPCAgyNOImGw7AwZHALOTEQgmof8SckIn0LOUD5PZg/s1600/02_blog_kenneth-kellogg-blue.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Philip Newton/Seattle Opera<br /></td></tr></tbody></table>
<p><b>SEATTLE OPERA: The revival <i>X: The Life and Times of Malcolm X</i> was announced more than two years ago—around the time that you were performing in Blue at Seattle Opera. What compelled you to pursue the title role?</b></p>
<p><b>KENNETH KELLOGG:</b> I was aware that work was beginning on the production. I knew the production was being done at Detroit, and, actually, I was supposed to sing the role in the Omaha production. But I had to backout of that performance because I was committed to <i>Blue</i>, which was going to take place at the same time. It just so happened that I was doing a radio interview at <a href="https://youtu.be/DYIzevDgsrs?si=jul5HsQkFmEXiZGw">Classical KING for <i>Blue</i>, when Quinton Morris</a> asked if there were any roles that I was looking forward to singing. I had just finished rereading <i>The Autobiography of Malcolm X</i>. So, Malcolm X was heavy on my mind because I’d been reflecting on what he stood for. So, I answered, ‘Malcolm X.’</p>
<p>I believe Christina Scheppelmann [Seattle Opera General Director] heard the interview. The next morning, she asked if I wanted to do Malcolm X. At that time, I was not aware of the Seattle production. But I replied, ‘Yes, absolutely.’ I hadn’t seen the score and was only briefly familiar with music. I just knew that I wanted to perform Malcolm X.</p>
<p><b>SEATTLE OPERA: To you, what does Malcolm X stand for?</b></p>
<p><b>KENNETH KELLOGG:</b> Malcolm X is a very divisive figure in American culture, American politics, American ideology. In my eyes, Malcolm is a product of America. The racism that happened during his time, the atrocities that happened to his life, made him. He was a mirror of American society. I think he’s divisive because it’s difficult to look at your reflection. It’s difficult for us [Americans] to admit, ‘Okay, maybe Malcolm’s right.’ I believe we’re seeing the fruits of that denial today. Malcolm, and a lot of what he stood for, is very valid today, in many iterations.</p>
<p>For me, Malcolm is that voice of reason that we didn’t listen to and we’re having to reface a lot of those things today. Had we listened and had we confronted these atrocities then, when he pointed them out to us, I don't think we would be in this situation we have with Black Lives Matter now. I don’t think it would be as drastic.</p>
<p><b>SEATTLE OPERA: Do you think the rise in stories that reflect BIPOC narratives is sustainable? George Floyd was murdered nearly four years ago.</b></p>
<p><b>KENNETH KELLOGG:</b> I think it must be sustained. For opera, and the arts in general, from a purely business, economical, perspective, to sustain ourselves, the arts industry must expand its repertoire and expand its reach to more communities. We must speak to diverse audiences.</p>
<p>After the reckoning of George Floyd, every opera company quickly put out statements supporting diversity. All cultural organizations, every non-profit, every corporation…everyone started thinking about race through the lens of what happened to George Floyd.</p>
<p>In particular, opera companies looked at the stories they were telling. They discovered that among the traditional repertoire, there weren't many diverse stories. The operas that did depict Black life were stereotypical—derogatory and told from perspectives that weren’t our own. We want to tell our own stories. We want to be seen and respected. Black artists became more vocal in calling for diversity. The COVID shutdown and the halt in productions required us to become individually creative and empowered our activism within the field. We raised our voices even louder. Opera companies started to listen. I think, they felt the pressure. I'm not even going to say they listened, but they felt the pressure to tell these stories.</p>
<p>As a result, new commissions were granted, and companies searched for what was already out there. <i>X</i> had a resurgence after not being performed since 1986. </p>
<p>Moving forward, I think we have to be mindful of what we put on stage. I’m more than elated to see Black stories being told, but we have to look at the big picture. The stories that have been green lit, I fear will have an opposite effect of what we truly want. We’ve pulled from African American history, slavery specifically. While these stories give opportunity and tell stories of Black people, it further isolates Black artists who can only tell this story. You can’t hire any other ethnicity to tell those stories. I think that is where companies have misunderstood the call for diversity. For me, setting <i>La bohème</i> in a historically Black neighborhood with Black aesthetics, i.e. costumes, set design, hair, and makeup, does more for the call for diversity than investing in Black trauma.</p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7hM3MPZlS3aWnToiw6OikDMu4mmEYpECrwgIIei24oeqVqBEG90d-8jpyoqExc_ymtx5-9SSvPHyH6BhilYdFS6VXyfP_MuKak_wuRaPDysRHBaTyqJAecGzYex2hTe2bC4AjqA7ij5GoJ8KAi6yEdf-oHlrHRX9J4h9fWfagIOPnwHDEu6uYCTwq7g/s1600/03_blog_malcolm-x-newspaper_Gordon-Parks-Foundation.jpg" style="display: block; text-align: center;"><img alt="" border="0" data-original-height="1178" data-original-width="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7hM3MPZlS3aWnToiw6OikDMu4mmEYpECrwgIIei24oeqVqBEG90d-8jpyoqExc_ymtx5-9SSvPHyH6BhilYdFS6VXyfP_MuKak_wuRaPDysRHBaTyqJAecGzYex2hTe2bC4AjqA7ij5GoJ8KAi6yEdf-oHlrHRX9J4h9fWfagIOPnwHDEu6uYCTwq7g/s1600/03_blog_malcolm-x-newspaper_Gordon-Parks-Foundation.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Gordon Parks Foundation<br /></td></tr></tbody></table>
<p><b>SEATTLE OPERA: How are you preparing for the role of Malcolm X. His persona is so well known.</b></p>
<p><b>KENNETH KELLOGG:</b> I’m a fan of Malcolm X, I’ll just say that. I’m a fan. Even before the opera was in the works, I would watch YouTube clips, and would rewatch Spike Lee’s, <i>Malcolm X</i>. The film is one of my favorites. I can watch it over and over. And like I said, I’ve read the autobiography several times. So, the preparation was already there.</p>
<p>But how do I prepare to play him? I am not going to try to take on his persona. I can’t. I concentrate on his message and what he stood for. I trust that the meaning of his life is in the score and the libretto. I trust the composer and the librettist.</p>
<p>I also think about how his message resonates in my life and my thinking. I think about what Malcolm’s message means for today’s audiences. I try to carry those ideals into how I prepare for the role. It affects how I sing. It affects how I walk. It affects all those things, just subconsciously.</p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFQYbcgbiat-dE7EGMUO3u1ip-M4bZ97xErqMj4JHIUyNrJ4TZi79_wdoCpAz3pc0riVJiTopQ2aTPuAt7vQlkbSBlwRg3LcODTT5spl2mgGNb7-GgmVyLJuDBvWjqlLvnpJtcQ9rDuJt-ZOALYUVWnRZbeGubmwJ__2uQmxXlpQ4byh65QiAY97MFnw/s1600/04_blog_malcolm-x_Gordon-Parks-Foundation.jpg" style="display: block; text-align: center;"><img alt="" border="0" data-original-height="1193" data-original-width="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFQYbcgbiat-dE7EGMUO3u1ip-M4bZ97xErqMj4JHIUyNrJ4TZi79_wdoCpAz3pc0riVJiTopQ2aTPuAt7vQlkbSBlwRg3LcODTT5spl2mgGNb7-GgmVyLJuDBvWjqlLvnpJtcQ9rDuJt-ZOALYUVWnRZbeGubmwJ__2uQmxXlpQ4byh65QiAY97MFnw/s1600/04_blog_malcolm-x_Gordon-Parks-Foundation.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Gordon Parks Foundation<br /></td></tr></tbody></table>
<p>After watching the protests of the Black Lives Matter movement, I wrote a post a about our civil rights leaders—Martin Luther King and Malcolm X, specifically. At the time I wrote the post, I was really, really angry. I believe Black people have given the best of our community to America. We’ve given everything. And in response, America has murdered our greatest potential.</p>
<p>I often wonder what Malcolm could have done hadn’t he had to fight for civil rights. He was brilliant. Martin was brilliant. These were brilliant, smart men. I think about what contributions to life and society, they might have made, if they hadn’t exhausted themselves and sacrificed themselves for this country’s inequities. These questions haunt me.</p>
<p><b>SEATTLE OPERA: It’s something to ponder. Can you imagine Malcolm and Martin as senior citizens?</b></p>
<p><b>KENNETH KELLOGG:</b> I would love to see that. Just imagine 75 years of contributing to America, to the world, to life. I think things would be very different.</p>
<p><b>SEATTLE OPERA: If you had the opportunity to sit down with someone who doesn’t know Malcolm X as well as you, what would you tell them?</b></p>
<p><b>KENNETH KELLOGG:</b> I would say, Malcolm was a mirror for us [America]. I would say that he had no problem looking in the mirror. He was a very steadfast, a very faithful person. However, he could admit his wrongdoings. It’s not lost on me that when he found out that the foundation of his faith in Elijah Muhammad was broken, that he started thinking for himself. It was a difficult choice. A change like that takes a very powerful, insightful person—a person of principle, a person of heart.</p>
<p>I think I said it earlier, Malcolm is a product of America. He is as American and as apple pie to me…The good and bad.</p>
<p>I would say to someone who doesn’t know much about Malcolm that the reason he’s vilified is that they only know a snapshot of his life. I would challenge that person look at the entirety of his life. Life is a series of causes and effects. Once Malcolm realized that he needed to change, he had no problem evolving and growing. He grew beyond America and took on the world for the sake of his cause.</p>
<p> <br /><i><a href="https://www.seattleopera.org/x">X: The Life and Times of Malcolm X</a></i> runs February 24–March 9, 2024, at McCaw Hall. Tickets and info at <a href="https://www.seattleopera.org/x">seattleopera.org/x</a>.<br /> </p>Seattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.com0tag:blogger.com,1999:blog-5630356600537382212.post-11654430805674895972023-10-06T10:15:00.002-07:002023-10-06T10:16:18.087-07:00Alcina’s Literary Origin<h3>By Jonathan Dean</h3>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxHQL2MwKa-yRlhAxrgycGdhj2YQoLWfBqCEjK6fR_Y7GzP5mJMDB6ctyZyvRI0USmPuN6H0ta-BUSzR0iEKpjYmcy791gP3fTQLeCjgVRaJkpMeqh61ZU0YRdoOa6ITKPvAFUB2hideHt1NBmh2QqlW9WXPRfe8Srxcab27Zxz1juZy9JQsHFFXwgyg/s1600/shutterstock_1382943335.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="5770" data-original-width="5288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxHQL2MwKa-yRlhAxrgycGdhj2YQoLWfBqCEjK6fR_Y7GzP5mJMDB6ctyZyvRI0USmPuN6H0ta-BUSzR0iEKpjYmcy791gP3fTQLeCjgVRaJkpMeqh61ZU0YRdoOa6ITKPvAFUB2hideHt1NBmh2QqlW9WXPRfe8Srxcab27Zxz1juZy9JQsHFFXwgyg/s1600/shutterstock_1382943335.jpg" width="400"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Vintage line drawing of the Italian poet Ludovico Ariosto (1474–1533), who is famous for his epic <i>Orlando furioso</i>.<br /></td></tr></tbody></table>
<p>The troubled and troubling love-life of the seductive sorceress Alcina was first chronicled in the greatest epic poem you probably don't know: <i>Orlando furioso</i> by Ludovico Ariosto. Written in flowing octaves of luscious Italian between 1506 and 1532, this sprawling saga spins a vast spiderweb-like story of ladies and knights, love and weapons, courage and chivalry over some 600 pages. In a way it’s an Italian answer to the British legends of King Arthur, Merlin, and the rest. (Merlin, in fact, puts in an appearance early on in <i>Orlando furioso</i>, prophesying to Bradamante that she and Ruggiero will wed and found a mighty family. Ariosto compliments his noble patron, Duke Este of Ferrara, by making Ruggiero and Bradamante his ancestors.)</p>
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<p>What differentiates Ariosto’s poem, among the many chivalric epics popular in the middle ages and Renaissance, is its gorgeous verse, the abundant variety of its story, and the tender, wise, confident, vital voice of its narrator. <i>Orlando furioso</i> is funnier and sexier than any comparable work. Its characters and episodes were so popular, Ariosto’s poem engendered spin-offs in every conceivable art form: painting, sculpture, illustration, madrigal, opera, more poetry, puppet shows, and, more recently, video games. Handel composed three dazzling operas based on <i>Orlando furioso</i>, Alcina not the least among them.</p>
<p>What’s <i>Orlando furioso</i> about? A whole lot of passionate love stories, set against the background of wars between Christians and Muslims before the Crusades. The poem’s title character, Orlando, is the strongest knight in Christendom; he goes mad (“<i>furioso</i>”) when the gorgeous Angelica, princess of China, spurns him for Medoro, a sweet, wounded Saracen boy from Africa. Orlando’s strength and madness are so extreme, he leaves a trail of devastation across Europe and Africa until another paladin, the English knight Astolfo, recovers Orlando’s lost wits: Astolfo finds them on the far side of the moon, where everything lost on earth can be found.</p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJX3i3m2CUZTJRYmoGU9l2g7mGIP59IY1mKpLf0bGqFOe_VDF-HmOZl2v6Fiaa7fnvZCyqaYbV7c6bimpCpgdkp3Qqaz7ICg1AfSgFbxcOWGOuD0RdIBvwmr1P4odsbNqOPMrUmpC1SCtSE-lNR4joFS-qDtgi1NPqW1QYVYOBWuWi5NrucNyItTgKRA/s1600/article%20photo%202.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" data-original-height="2901" data-original-width="2400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJX3i3m2CUZTJRYmoGU9l2g7mGIP59IY1mKpLf0bGqFOe_VDF-HmOZl2v6Fiaa7fnvZCyqaYbV7c6bimpCpgdkp3Qqaz7ICg1AfSgFbxcOWGOuD0RdIBvwmr1P4odsbNqOPMrUmpC1SCtSE-lNR4joFS-qDtgi1NPqW1QYVYOBWuWi5NrucNyItTgKRA/s1600/article%20photo%202.jpg" width="400"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Painting of George Frideric Handel (1685–1759) by Balthasar Denner. Known mostly for his often-performed <i>Messiah</i>, Handel was a prolific composer of operas.<br /></td></tr></tbody></table>
<p>Meanwhile, the long-awaited union of Ruggiero (who’s North African) and Bradamante (who’s French), foretold by Merlin at the beginning of the poem, gets delayed and delayed and delayed. First Bradamante must rescue Ruggiero from his over-protective foster-father, the wizard Atlante. Later on, Ruggiero rescues Angelica, who is going to be sacrificed to a sea monster, and gets briefly distracted by her charms. Further complications and sexy misunderstandings are caused by Ruggiero’s sister, who likes to go about disguised as a male knight, and Bradamante’s twin brother Ricciardo, who masquerades as a girl.</p>
<p>But it’s Alcina who represents the greatest threat to the union of Ruggiero and Bradamante. Ariosto helped himself freely to situations and characters from Greek myth, and Alcina clearly derives from Circe. You may remember Circe from <i>The Odyssey</i>; she’s the seductive witch who turns Odysseus’s men into swine and keeps the hero as her lover on her gorgeous pleasure-palace island for a year. A few decades after <i>Orlando furioso</i> was written, the Italian poet Torquato Tasso paid Ariosto the compliment of deriving from Alcina another such character: Armida. In Tasso’s epic poem, <i>Gerusalemme liberata</i> (“Jerusalem Liberated”), the sorceress Armida seduces the heroic Rinaldo away from the Crusader army besieging Jerusalem. Armida’s love-life, like that of Alcina’s, has inspired dozens of operas. Rinaldo’s friends find him, enervated and emasculated with love, in the witch’s hidden pleasure-gardens. They remind him of masculine virtues such as strength, courage, self-control, and keeping your word, so he flees Armida and returns to the war. But by that point she has fallen in love with him, which she wasn’t supposed to do. In the operas, of course, her broken heart gives her lots to sing about.</p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIcYwXS3-_Wgo4Asd5ujaXHmzTF4zdwxNWV6n4MwXqYpXXOBrW5f9Of7I0zxWDYraKvZDjn-dQ2sc8Da7RKcVhBhvzmcyLheR-ssewUYWUT5rDselOw3MlDeQD6KdWaGoNReoGrgKZmRioi2FrKnwyqkahqhApth-emTuYxzOt5Mcbf6RyUCgZVPUtmg/s1600/article%20photo%20%233.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="3704" data-original-width="4878" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIcYwXS3-_Wgo4Asd5ujaXHmzTF4zdwxNWV6n4MwXqYpXXOBrW5f9Of7I0zxWDYraKvZDjn-dQ2sc8Da7RKcVhBhvzmcyLheR-ssewUYWUT5rDselOw3MlDeQD6KdWaGoNReoGrgKZmRioi2FrKnwyqkahqhApth-emTuYxzOt5Mcbf6RyUCgZVPUtmg/s1600/article%20photo%20%233.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Armida Discovers the Sleeping Rinaldo</i> by Nicolas Poussin (1629).<br/>In homage to Ludovico Ariosto, poet Torquato Tasso (1544–1595) published <i>Gerusalemme liberata</i> (“Jerusalem Liberated”). Tasso’s poem features Armida, a seductive sorceress similar to Alcina. In this painting by Nicolas Poussin, Cupid restrains Armida from stabbing her enemy.<br /></td></tr></tbody></table>
<p>No matter how tangled their plots become, Baroque operas always end happily, with justice and order restored. So Alcina and Armida are always defeated in the end. But the special genius of Handel, as an opera composer, was his ability to transform such an astonishing range of human emotion into music, from tender sensuality to wistful nostalgia to impatient petulance to fiery resolution. Even when Ariosto’s characters are making poor choices, Handel makes us feel what they feel. Thus, compassion overrides judgment; Alcina can be tragic, Ruggiero can be heroic, and the bold and brave Bradamante can be a furious, vengeful monster. Unlike her epic counterpart—the villainous Morgan le Fay—Handel’s Morgana is a bright, likeable young lady who learns a lot about the pleasure and pain of love over the course of this opera.</p>
<p>Curiously, the gender-play of this production brings Handel back closer to Ariosto. In Ariosto, the magician who helps Bradamante free Ruggiero from Alcina is Melissa, a benevolent sorceress. When Handel’s opera premiered, in London in 1735, this character became <i>Melisso</i>, sung by a bass, mostly because Handel wanted to write a part for his cook, Gustavus Waltz, who was also a wonderful singer. Restoring this character to her original gender restores the carefully balanced gender politics of Ariosto’s story: Alcina isn’t defeated by a (male) wizard; instead, another woman brings her down. “Are you a good witch or a bad witch?”</p>
<p><b><i><a href="https://www.seattleopera.org/alcina">Alcina</a></i> runs October 14-28, 2023 at McCaw Hall. Tickets and info at <a href="https://www.seattleopera.org/alcina">seattleopera.org/alcina</a>.</b><br/> </p>
Seattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.com0tag:blogger.com,1999:blog-5630356600537382212.post-60010101447396382472023-10-02T14:44:00.000-07:002023-10-02T14:44:58.120-07:00From the Stage to the Podium<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfkEs65o-m44Gqfzb0Cfmpi8CmcOPzEC1o43_60whFjX7SkghZ-X9Y9SNW8FoHjsg8O7gV1-Bh3I4lGmugb2bDIW-k0ScD1-8R9ife0RWG6Igw-50fx3qHDaF54uWcF1eGnDkNUV-Ugk-KUbbXsXkvGpmYxipoHSWl_9JIi_M-ymoUwNZqbKREig8s9Q/s3408/flyrail%20web%20ready.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2272" data-original-width="3408" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfkEs65o-m44Gqfzb0Cfmpi8CmcOPzEC1o43_60whFjX7SkghZ-X9Y9SNW8FoHjsg8O7gV1-Bh3I4lGmugb2bDIW-k0ScD1-8R9ife0RWG6Igw-50fx3qHDaF54uWcF1eGnDkNUV-Ugk-KUbbXsXkvGpmYxipoHSWl_9JIi_M-ymoUwNZqbKREig8s9Q/w640-h426/flyrail%20web%20ready.jpg" width="640" /></a></div>Rehearsals are underway at Seattle Opera for <i><a href="https://www.seattleopera.org/alcina">Alcina</a></i>, George Frideric Handel’s spellbinding story of sorcery and seduction. At the helm is conductor Christine Brandes, who, despite making her Seattle Opera conducting debut in this production, has performed at Seattle Opera before—as a singer. In a recent profile by Joanne Sydney Lessner in <a href="https://operanews.com/features/2023-10-a-layer-of-texture/"><i>Opera News</i></a>, Brandes detailed the process that brought her from the stage into the pit.<br /><span><a name='more'></a></span><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkrKnBTIug5sBrAW3n5C9Lhr1Iq1uNEQbenLbAz19Y8ocyxUYiDb1YWRMsRjJqnevFqh8HUDAUmeQYiQV05oaM88t8aupBBOKwRqjYEysBJbGSeIY3_YWiSuUicY3DtH4mVGPrM6PqnlYtogjhTLviKMfoBDoPNp8oet8kLD0KhQme3SD05a6m9L8Rtw/s4500/20230929_workingrehearsal_alcina_sunnymartini_21424.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3001" data-original-width="4500" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkrKnBTIug5sBrAW3n5C9Lhr1Iq1uNEQbenLbAz19Y8ocyxUYiDb1YWRMsRjJqnevFqh8HUDAUmeQYiQV05oaM88t8aupBBOKwRqjYEysBJbGSeIY3_YWiSuUicY3DtH4mVGPrM6PqnlYtogjhTLviKMfoBDoPNp8oet8kLD0KhQme3SD05a6m9L8Rtw/w640-h426/20230929_workingrehearsal_alcina_sunnymartini_21424.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Maestro Brandes, right, in rehearsal with <span class="cast-member-detail-name trigger-bio" id="ContentPlaceHolder1_ContentPlaceHolder2_content_ctl00_ctl02_ctl00_castList_ctl00_ctl01_ctl00_artistName">Vanessa Goikoetxea (Alcina), center, and Assistant Conductor </span>Philip A. Kelsey, background left. © Sunny Martini.<br /></td></tr></tbody></table><div style="text-align: left;"><span style="background-color: white;"></span></div><blockquote><div style="text-align: left;"><span style="font-size: medium;"><span style="background-color: white;">In 2016, Brandes scheduled a production of Handel’s <i>Alcina </i>at San Francisco State University, where she was teaching and running the opera program. She planned to both design and direct, but when she learned that the university’s orchestral conductor would be on sabbatical, she found herself taking up the baton as well. <br /></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="background-color: white;"><br /> “[I thought], ‘I’ve sung the role of Morgana a number of times. I’ve sung bits and pieces of <i>Alcina </i>in concerts. I know this piece!’ Well, okay, I quickly discovered knowing one way and then knowing in the conductor way [are] completely different things. So I was on a pretty steep learning curve,” Brandes admits. She recalls the precise moment when she glimpsed her future as a conductor; with one gesture, she altered the shape of a phrase, and the orchestra responded. “I was looking at the second violinist, and she looked back at me with this radiant smile. That was it, and then I was really bitten by the bug.” <br /><br /> Brandes went on to conduct <i>Amelia al Ballo</i>, <i>Die Fledermaus</i> and several new chamber operas at San Francisco State. She had just been accepted into The Dallas Opera Hart Institute for Women Conductors when the pandemic hit, but the program continued over Zoom and culminated with a week on site. “I thought, ‘All signs are pointing in this direction,’ and so I left my golden handcuffs of tenure,” she says. “It was in part this Covid thinking of ‘If I knew I was gonna be dead in four years, is this what I’d want to be doing?’ And the answer was a very quick no. I’d rather just take the leap. And I’m super, super pleased that I did.” <br /><br /> This month, Brandes makes her Seattle Opera conducting debut with <i>Alcina</i>, having previously appeared onstage there as Pamina in <i>Die Zauberflöte</i>, Susanna in <i>Le Nozze di Figaro</i> and Cleopatra in <i>Giulio Cesare</i>. Tim Albery directs, and Vanessa Goikoetxea sings the title role.</span></span></div></blockquote><div style="text-align: left;"><span style="background-color: white;"></span></div><p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYm5x3l0L2zCj0WEK3SWSPtDfGJVx1YJeM2XgydzaLpjlamnHYbgeN-PW2p3wUHuPuvAL6JvcXLfHm7oBYQ1bKiipKkZ3q17-FVD336Mq4fLRMWMlhyRArMXxEvg350A_NAo6ESn9y5xE6PIl9eJEgMTTvrLn0bI-E_JMnDYn7_SdUVgHsQSziJLEnYg/s2240/07%20JuliusCaesar%20bm%20622_01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2240" data-original-width="1500" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYm5x3l0L2zCj0WEK3SWSPtDfGJVx1YJeM2XgydzaLpjlamnHYbgeN-PW2p3wUHuPuvAL6JvcXLfHm7oBYQ1bKiipKkZ3q17-FVD336Mq4fLRMWMlhyRArMXxEvg350A_NAo6ESn9y5xE6PIl9eJEgMTTvrLn0bI-E_JMnDYn7_SdUVgHsQSziJLEnYg/w428-h640/07%20JuliusCaesar%20bm%20622_01.jpg" width="428" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><!--[if gte mso 9]><xml>
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</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
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mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
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mso-para-margin-right:0in;
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mso-para-margin-left:0in;
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mso-pagination:widow-orphan;
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mso-ascii-theme-font:minor-latin;
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<![endif]-->
<p class="MsoNoSpacing">Christine Brandes made her Seattle Opera singing debut in
2007 as Cleopatra in Handel’s <i>Julius Caesar</i>, pictured here with Anna
Burford as Caesar. © Bill Mohn.</p>
</td></tr></tbody></table>Before rehearsals began, Brandes told Seattle Opera she considers her background as a singer to be a secret weapon for success: “Being a singer and having been on the other side of the pit is sort of my superpower,” said Brandes. “It gives me a much more intuitive relationship with the singers and the ability to react more quickly and subtly to their needs. <i>Alcina </i>is a visceral piece with such fully realized, relatable characters—I hope the audience feels immediately drawn into the emotional landscape of the story and swept along by this amazing music.”<br /><br /> Read more at <i><a href="https://operanews.com/features/2023-10-a-layer-of-texture/">Opera News</a></i>, and don’t miss your chance to see Maestro Brandes in action when she makes her Seattle Opera conducting debut in <i>Alcina</i>, October 14−28. Tickets and info at <a href="https://www.seattleopera.org/alcina">seattleopera.org/alcina</a>.</p>Seattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.com0tag:blogger.com,1999:blog-5630356600537382212.post-9110067141924444722023-09-18T10:49:00.003-07:002023-09-29T14:10:35.554-07:00Alcina’s Gender Jumble<h3 style="text-align: left;">By Joshua D. Gailey</h3><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2KBPGVZ2ftISRx-2WQdh0_mOv6s2AwHgkFew49MGu72J3RAVN2NBMll5STHi3aaOUVGoWJqwIaQ1e3NEw9NuU4oh4kIyQrUgL6m-3EsEK-jWLsTE7aouwPlP7lZmDajEXhm4lnbbBKY_Khd4XATFMRv10qJpZq2LPUxzhipVG4Vh0OZnOlCI59bZUGg/s4500/ON-alcina-026.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3001" data-original-width="4500" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2KBPGVZ2ftISRx-2WQdh0_mOv6s2AwHgkFew49MGu72J3RAVN2NBMll5STHi3aaOUVGoWJqwIaQ1e3NEw9NuU4oh4kIyQrUgL6m-3EsEK-jWLsTE7aouwPlP7lZmDajEXhm4lnbbBKY_Khd4XATFMRv10qJpZq2LPUxzhipVG4Vh0OZnOlCI59bZUGg/w640-h426/ON-alcina-026.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><!--[if gte mso 9]><xml>
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<p class="MsoNoSpacing"><span style="font-size: 10pt;">The homoerotic undertones highlighted
by <i>Alcina</i>’s cross-dressing plot<i> </i>has made the opera a favorite
among queer opera fans.<i> </i>© James Glossop / Opera North.</span></p>
</td></tr></tbody></table><p>On Alcina’s magic island, nothing is certain; feelings are fickle, ex-lovers are transformed into beasts, and the island itself is but an illusion. Even gender is unstable: the opera’s intricate story features a woman disguising herself as a man to rescue her fiancé—a role that was written for a <i>castrato</i>, commonly performed by a mezzo-soprano, and played in our production by a countertenor. To top it all off, our production gender-swaps a character, Melissa, to match her gender in the source text, Ludovico Ariosto’s <i>Orlando furioso</i>. Although cross-dressing was a common attribute of 17th- and 18th-century <i>opera seria</i>, the level of gender play in <i>Alcina </i>is nonetheless striking for modern audiences, and has even led <a href="http://cup.columbia.edu/book/en-travesti/9780231102698">some viewers</a> to regard Handel as the “queerest of opera composers.” </p><a name='more'></a>For countertenor Randall Scotting, who plays Ruggiero, Baroque opera’s gender flexibility starts with the <i>castrato</i>. “If you look at it historically, there is just inherently this gender play in Baroque opera. Some <i>castrati </i>performed as female characters throughout their careers, because they were just so good at it. And in the other direction, Handel often wrote male characters for female singers. It just was very flexible.” <p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOqpOivVtmne0_6hufuumA9jLG9APs9Gw4a6TD0VUU2KNzCh38locQSO-AtH_VxMUXDY_cGqJTTx7IlZJr_d4A7UbJ2LHivPHhLO10hFHqf2YVqkR8UNwIKOtVEExKsY_brhiZVgIR07Ac3cE8vxve9L_0A0rGILya4UUHXpdmySrBRh377ihk09xqbg/s2500/Carestini%20-%20British%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2500" data-original-width="1785" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOqpOivVtmne0_6hufuumA9jLG9APs9Gw4a6TD0VUU2KNzCh38locQSO-AtH_VxMUXDY_cGqJTTx7IlZJr_d4A7UbJ2LHivPHhLO10hFHqf2YVqkR8UNwIKOtVEExKsY_brhiZVgIR07Ac3cE8vxve9L_0A0rGILya4UUHXpdmySrBRh377ihk09xqbg/w456-h640/Carestini%20-%20British%20Museum.jpg" width="456" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
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<![endif]--><span face=""Calibri",sans-serif" style="font-size: 11pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">The original Ruggiero, Giovanni Carestini, was a
<i>castrato</i>,<i> </i>one of a group of Italian singers in the 16<sup>th</sup>–18<sup>th</sup>
centuries who were castrated before they reached puberty to preserve their high
voices. Although the practice originated in ancient times, <i>castrati</i> musicians
came to opera from the Italian church, where women were prohibited from
singing. By the 18<sup>th</sup> century, <i>castrati</i> were superstars on the
opera stage, who demanded outrageously high fees and drove fans wild.</span></td></tr></tbody></table><p>The early modern period (roughly 1450–1800) had a fundamentally different understanding of gender than we do today. Early modern Europeans did not conceive of gender as a binary, but rather as a vertical hierarchical continuum, with adult masculinity at the top. Because <i>castrati </i>did not go through puberty and their progression along this ladder was halted, says Scotting, “they embodied a truthful whole of all genders, which made them believable in male or female roles on stage.” </p><p></p><p></p><p>Gender was thus divorced from voice type, a fact that can still elicit surprise from modern audiences. “People expect a certain sound to come out of my mouth—a sort of hefty baritone that would match my looks,” says Scotting, who frequently sings roles written for <i>castrati</i>. “But when I start to sing, I get a sense from an audience when what they’re seeing visually doesn’t match what they’re hearing. I think my sound does match. I have a strong, muscular countertenor sound, which I think does match my visual appearance. But it’s not what people expect.” </p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7Xn3KjK8af_8golxEEj0oNlvusEXfZt1couGqVca1Wd1R1Sd-JYifovgfAPF0TpkFC0YpqOVNFXhNU2cUPEoM782b7wsU89d0mzD-9u3CTjvAN5lr02IlSKGuEolGM0APDPwQaQ_IBEJctBKLOiWBLGshWsMiWDAAJRlaVX7oCm3A_IX1Xiwh40wkfw/s1913/210302_Flight__%2033.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1913" data-original-width="1276" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7Xn3KjK8af_8golxEEj0oNlvusEXfZt1couGqVca1Wd1R1Sd-JYifovgfAPF0TpkFC0YpqOVNFXhNU2cUPEoM782b7wsU89d0mzD-9u3CTjvAN5lr02IlSKGuEolGM0APDPwQaQ_IBEJctBKLOiWBLGshWsMiWDAAJRlaVX7oCm3A_IX1Xiwh40wkfw/w426-h640/210302_Flight__%2033.jpg" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">
<p class="MsoNoSpacing"><span style="font-size: 10pt;">Countertenor Randall
Scotting, who plays Ruggiero in our production of <i>Alcina</i>, pictured here
in 2021’s <i>Flight</i>.<br /></span></p>
</td></tr></tbody></table><p>Because male characters on the Baroque opera stage regularly sang in the same vocal range as women, it would have been perfectly convincing for 18th-century audiences when Bradamante disguises herself as a man. In modern revivals, the intermingling of vocal range also allows for flexible casting; it is common these days to see Ruggiero played both by mezzo-sopranos and by countertenors. But for our conductor, Christine Brandes, the choice to cast a man or a woman as Ruggiero is ultimately not as important as the energy the singer brings to the role. “What is the nature of that energy, and how persuasive is it? Are you sexy or not? I think that multi-faceted nature of desire is the reason for gender-bending’s longevity in opera.” <br /><br /> Attitudes like Brandes’s are possible because conceptions of gender and sexuality have evolved in recent decades. For John Marzano, who plays Oronte and who maintains an active career as a drag queen, opera’s long history of gender fluidity is a useful reminder that gender isn’t fixed: “I think it’s important for contemporary audiences to see our fluid understanding of gender play out in something that isn’t new. <i>Alcina </i>was written so long ago and was performed like this so long ago—I think that’s important for people to see.” </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8VITRQHr0yxyRXNK6bnFSQwKkoz1jgX0lNnLDCwhIzi52C3ZI0JLfsOzzNXUo5cS9oon53rDxwjMJmPhNDeTnD5hhCK3PFZ7vNyjYs0gJys7YOP5WkEQC9w4YD4b4IeeiwTRh8CEzRqYkpGDR993pg5lz1R6IPfSEFw1p2BNdBmgHyo3crTWl7_XJDQ/s4500/ON-alcina-003.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3001" data-original-width="4500" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8VITRQHr0yxyRXNK6bnFSQwKkoz1jgX0lNnLDCwhIzi52C3ZI0JLfsOzzNXUo5cS9oon53rDxwjMJmPhNDeTnD5hhCK3PFZ7vNyjYs0gJys7YOP5WkEQC9w4YD4b4IeeiwTRh8CEzRqYkpGDR993pg5lz1R6IPfSEFw1p2BNdBmgHyo3crTWl7_XJDQ/w640-h426/ON-alcina-003.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Claire Pascoe as Melissa in Opera North's production of <i>Alcina</i>. © James Glossop / Opera North.<br /></td></tr></tbody></table><p>What about the gender-swapped character Melissa, which is unique to our production? When Handel wrote <i>Alcina</i>, he changed Ariosto’s Melissa into <i>Melisso</i>, simply because he needed a role for a bass to balance the opera’s musical forces. (He also had a bass, Gustavus Waltz, working for him that season.) But stage director Tim Albery was interested in the way Ariosto’s story positioned Melissa as a foil to Alcina. Although Melissa is a minor role, Albery suggests Melissa may play a larger part in the opera’s story, hinting through staging and costuming that Melissa is really in control here. <br /><br /> Musically, it’s a rather minor change. Originally written for a bass and performed by a man, Melissa’s one aria is performed up an octave to fit mezzo-soprano Nina Yoshida Nelsen’s voice. And without a bass in the opera’s choruses, the music staff has made some clever changes to the score to make sure all the parts are covered. <br /><br /> As for the impact on the opera’s gender politics, that’s up for the audience to decide. “The beauty of art is that everybody has the opportunity to grab onto whatever resonates with them,” says Nelsen. “I think there’s something really exciting about that. Art has the ability to touch human beings in all sorts of ways.” As with Bradamante’s cross-dressing and Ruggiero’s casting, the ultimate goal, then as now, is to provoke strong emotions. You may be surprised by where your desires take you.<br /></p>Seattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.com0tag:blogger.com,1999:blog-5630356600537382212.post-22530230118568865522023-09-01T10:05:00.000-07:002023-09-01T10:05:15.589-07:00Racial Equity and Social Impact Plan: Progress Report—Year Two<style>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Efd9_WhCmQjIUrFguKfr75_OpsnZsqFnFdLCu8xCHG1vgWPPP3OqsCmHv10iOWE1Y8wvLqALRW264_andUVKp3xdt59urWHF3kRjDyVeiyCb55d7atd-WW_mH_iTbJ6BlVrAOnwUOeJJ2p-M7hQfqnlNy5sDUvyBPTP05WA-fV6Og-Qf98nTu58-4Q/s1600/01_RESI-2_Suns-Rehearsal_Phlip-Newton.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="1000" data-original-width="1500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Efd9_WhCmQjIUrFguKfr75_OpsnZsqFnFdLCu8xCHG1vgWPPP3OqsCmHv10iOWE1Y8wvLqALRW264_andUVKp3xdt59urWHF3kRjDyVeiyCb55d7atd-WW_mH_iTbJ6BlVrAOnwUOeJJ2p-M7hQfqnlNy5sDUvyBPTP05WA-fV6Og-Qf98nTu58-4Q/s1600/01_RESI-2_Suns-Rehearsal_Phlip-Newton.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Last season, Seattle Opera presented the world premiere of <i>A Thousand Splendid Suns</i>, an opera based on the bestselling novel by Khaled Hosseini. © Philip Newton</td></tr></tbody></table>
<p>In 2019, Seattle Opera embarked on a plan to address institutional racism and to engage the community in ways that centers People of Color within the art form and beyond. Soon afterwards, the company launched its Racial Equity Social Impact (RESI) plan. The plan established goals and initiatives designed to improve diversity, equity, and inclusion at Seattle Opera, the opera industry, and our community in general.</p>
<p>As we enter the third year of the plan, it’s our privilege to report the company’s progress. This report highlights new and ongoing initiatives, such as the Seattle Arts Fellows, Sensory Friendly and Relaxed Performances and Building for Equity. These and other projects reflect Seattle Opera’s commitment to all human difference and social identities, to fair and just practices, and to openness and belonging.</p>
<a name='more'></a>
<div class="sub-section priorities">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_fqWX6jJik8Y0CrKmgNXKWkoSYqX70S1yR9Ndq151woVhh_wJhVJbD_oO6cwsFPITdHiAVq4Tr6OwS0OBWAcEx-0cKedL2n-Nd9bgjEzKKVBQp1q5zNnsZGiTMfOQDTeN4dRhb4wDNht__mbZGAdazRMiZnkE09Pa2YNcGV9ogVXRUri0Rg5kzvQXfQ/s1600/02_RESI-2_Tristan-Rehearsal_Phlip-Newton.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="1000" data-original-width="1500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_fqWX6jJik8Y0CrKmgNXKWkoSYqX70S1yR9Ndq151woVhh_wJhVJbD_oO6cwsFPITdHiAVq4Tr6OwS0OBWAcEx-0cKedL2n-Nd9bgjEzKKVBQp1q5zNnsZGiTMfOQDTeN4dRhb4wDNht__mbZGAdazRMiZnkE09Pa2YNcGV9ogVXRUri0Rg5kzvQXfQ/s1600/02_RESI-2_Tristan-Rehearsal_Phlip-Newton.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Maestro Jordan De Souza conducts the Seattle Opera orchestra in last season’s production of <i>Tristan & Isolde</i>. © Philip Newton</td></tr></tbody></table>
<h2>Racial Equity and Social Impact</h2>
<h4>Strategic Priorities</h4>
<ul>
<li>Formalize and implement racial equity and social impact practices and policies across all stakeholders and departments of the company.</li>
<li>Increase the percentage of stakeholders who understand and participate in Seattle Opera’s racial equity and social impact work.</li>
<li>Increase the company’s racial equity and ethnic diversity across all stakeholder groups to reflect the diversity of the Puget Sound region.</li>
</ul>
</div>
<div class="sub-section neighbors">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjggwicQVhdTGrlYZKETvWzAdMCYUTtZgHaBv-Faw_H0ZzoJwVY3c44-emiehkrWDVoYoBkQDOvaXn60yt_sfhZMb4bpB69e1P3t4mKm_haMDkQY7YM04lf3PwcrUxh8wBI18FtONsE-Z5J9pfHCb8VdNljQa-GYNFrO1htJbpiiIBqpa4epvgNj-4BOA/s1600/03_RESI-2_Tasveer_Seattle-Opera.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="951" data-original-width="1500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjggwicQVhdTGrlYZKETvWzAdMCYUTtZgHaBv-Faw_H0ZzoJwVY3c44-emiehkrWDVoYoBkQDOvaXn60yt_sfhZMb4bpB69e1P3t4mKm_haMDkQY7YM04lf3PwcrUxh8wBI18FtONsE-Z5J9pfHCb8VdNljQa-GYNFrO1htJbpiiIBqpa4epvgNj-4BOA/s1600/03_RESI-2_Tasveer_Seattle-Opera.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The staff of Seattle Opera welcomes Tasveer staff to the Opera Center. Tasveer is a Seattle-based organization that presents and produces Asian film, art, and stories. As part of Building for Equity, a 4Culture initiative, Tasveer is sharing office space with Seattle Opera. © Seattle Opera</td></tr></tbody></table>
<h3>Good Neighbors</h3>
<p>Tasveer, a Seattle-based organization that presents and produces South Asian film, art, and stories, has moved to the Opera Center, sharing office space with the Seattle Opera staff on the third floor. Tasveer’s relocation to the Seattle Center campus is possible through Building for Equity, a 4Culture/King County grant. Across the country, the resource divide between large and small arts institutions is large. Building for Equity is an initiative to lessen the gap and create a pathway to racial equity in cultural facilities funding. For the several years, Tasveer will host their annua film festival, film summit, and other events at the Opera Center.</p>
<table class="testimonials">
<tr>
<td class="testimonial"><p>“Programs like this one are a form of activism, leading to the creation of equitable systems that assist under-resourced organizations.”<br/><span class="fineprint">—<b><i>Rita Meher, Tasveer</i></b></span></p></td>
<td class="testimonial"><p>“The Opera Center is an amazing building. And everyone at the opera has been welcoming. The entire process of moving here was easy.”<br/><span class="fineprint">—<b><i>Khenrab Palden, Tasveer</i></b></span></p></td>
</tr>
</table>
</div>
<div class="sub-section colors">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ-QTAkwjcm8-3AYUxLVGrVlKC01HYdME0-AbniDP-XdR2YKd2U2GgLrze9PKHEEO9LGf4-UdhU-akoer4E3IAhXJl69xp4X7VxsuWdWAgrL5jZ5qwTVzOkk1xRg2nHkapQz-wiNFEVqwUTNT8qJk4wWoHIZDB4zXjgv8Ivh6Bn6OVzQ0yEH25rO1Vmw/s1600/04_RESI-2_Pride_Seattle-Opera.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="1125" data-original-width="1500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ-QTAkwjcm8-3AYUxLVGrVlKC01HYdME0-AbniDP-XdR2YKd2U2GgLrze9PKHEEO9LGf4-UdhU-akoer4E3IAhXJl69xp4X7VxsuWdWAgrL5jZ5qwTVzOkk1xRg2nHkapQz-wiNFEVqwUTNT8qJk4wWoHIZDB4zXjgv8Ivh6Bn6OVzQ0yEH25rO1Vmw/s1600/04_RESI-2_Pride_Seattle-Opera.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Dressed for the occasion, Seattle Opera staff had a fun time marching in Seattle’s pride parade. © Seattle Opera</td></tr></tbody></table>
<h3>True Colors</h3>
<p>Seattle Opera was among hundreds of local businesses, institutions, and organizations to celebrate our LBGQIA+ family members, friends, and neighbors during the city’s annual Pride Parade.</p>
</div>
<div class="sub-section partnerships">
<h3>The Power of Partnerships</h3>
<p>Seattle Opera is honored to have the following organizations as partners. Together, we strive to make Seattle more welcoming, creative, healthier, educated, and equitable for all.</p>
<table class="list-columns">
<tr>
<td><p>Afghanistan Institute of Music<br/>AliBaba Awrang Calligraphy<br/>ArtLords<br/>Center for Women & Democracy<br/>Fifth Avenue Theater</p></td>
<td><p>Jazze’s Organic Afghan Fusion<br/>Jewish Family Service Refugee Resettlement Program<br/>University of Washington School of Music<br/>University of Washington Persian & Iranian Studies<br/>Refugee Artisan Initiative</p></td>
<td><p>Refugee Women’s Alliance<br/>Sahar Education<br/>Seattle of International Film Festival<br/>Tasveer<br/>World Relief of Western Washington</p>
</td>
</tr>
</table>
</div>
<div class="sub-section frida">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLqjtDP8hOGJ85GIK0jFJlST7CXUDQf6LNXLS3d_m9Mr4vVVOmDSwnmQVa1jLZtnX-SEeKarrOrbacQGQBOEccaRDboV9wiqjGRAl8Q6-b3fXaibKtSJ9D5nyEUdT0d-l0unRMBx-updZv9l6s7QxX9uTj6SUadJChSALAF7f8e-vRXGr9Y0vIAKGdhQ/s1600/05_RESI-2_Frida_Seattle-Opera.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="1000" data-original-width="1500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLqjtDP8hOGJ85GIK0jFJlST7CXUDQf6LNXLS3d_m9Mr4vVVOmDSwnmQVa1jLZtnX-SEeKarrOrbacQGQBOEccaRDboV9wiqjGRAl8Q6-b3fXaibKtSJ9D5nyEUdT0d-l0unRMBx-updZv9l6s7QxX9uTj6SUadJChSALAF7f8e-vRXGr9Y0vIAKGdhQ/s1600/05_RESI-2_Frida_Seattle-Opera.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Each Seattle Parks performance of <i>Frida Kahlo and the Bravest Girl in the World</i> included lots of arts and crafts projects for families to do. © Seattle Opera</td></tr></tbody></table>
<h3>On the Road Again</h3>
<p>This spring, after a three-year absence, Seattle Opera’s School Opera Tour was on the road. The cast and crew of <i>Frida Kahlo and the Bravest Girl in the World</i> performed 51 times. The one act bilingual opera tells the story of Mariana, a young girl living in Mexico City who has her portrait painted by Frida Kahlo. The production crisscrossed the State of Washington, traveling to elementary in Port Angeles, Toppenish, Marysville, and other communities as well as schools in Seattle. Along the way, the tour stopped in 25 Title 1* Schools. Additional free, public performances took place at two Seattle city parks—Powell Barnett Park and Highland Park.</p>
<p class="blockquote teal" align="center">“The performance was truly a great community-building, schoolwide event, and our students thoroughly enjoyed seeing their culture and language represented.”<br/><span class="fineprint">—<b><i>Jennifer Ching, Teacher, Stevenson Elementary School</i></b></span></p>
<p class="fineprint"><i>*Schools in which at least 40 percent of the students are from under-resourced families.</i></p>
</div>
<div class="sub-section fellows">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfa5wvbbkwwg_gR4W59qqxt6yxI7dMGesE91vPg3YbSph0O_XNeBooIshW0so88JZvqXUMr1bzRNwAgAIdITfoLvJrhO50Fw2cyfiuan-OkgL6BJ4_ybWRGxwe44Zh0mDr7bkc2Q_Mi32m02D0Qk5Wd0LFXfMtxs9w0y8qkyC8hbSwZjWc80N3JTtGyA/s1600/06_RESI-2_Fellows_Jiyang-Chen.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="1000" data-original-width="1500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfa5wvbbkwwg_gR4W59qqxt6yxI7dMGesE91vPg3YbSph0O_XNeBooIshW0so88JZvqXUMr1bzRNwAgAIdITfoLvJrhO50Fw2cyfiuan-OkgL6BJ4_ybWRGxwe44Zh0mDr7bkc2Q_Mi32m02D0Qk5Wd0LFXfMtxs9w0y8qkyC8hbSwZjWc80N3JTtGyA/s1600/06_RESI-2_Fellows_Jiyang-Chen.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The 2023/24 Seattle Opera Fellows are (L to R) Stella Gonzalez, Lorin Green, Myah Rose Paden, and Tony Oteromarrero. © Jiyang Chen</td></tr></tbody></table>
<h3>Seattle Arts Fellowship 2.0</h3>
<p>The Seattle Arts Fellowship program recently concluded its second year. The program provides hands-on work and educational experiences to future arts administrators who identify as Black, Indigenous, or as a Person of Color. The year-long, paid fellowship is hosted by Seattle Opera, Seattle Symphony, Classical KING, and Pacific Northwest Ballet. This year’s cohort—Stella Gonzalez, Lorin Green, Myah Rose Paden, and Tony Oteromarrero—developed and implemented a variety of projects at their respective organizations. They also met local arts leaders, like Michael Greer, Arts Fund CEO; Vivian Philips, Founder of ARTE NOIR; and Robert Nellams, former head of Seattle Center.</p>
<p class="blockquote yellow" align="center">“I think this fellowship has allowed me to explore talents that I hadn’t had the opportunity or the freedom to explore”<br/><span class="fineprint">—<b><i>Myah Rose Paden</i></b></span></p>
</div>
<div class="sub-section supply">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3qxpYvyeN_E54xvYU_unOAdp0Nsm5EvSfZHdNfUE3eQWdVbExdLbrcpj_YlwvcapN7VoPmqyg-lwEumY5-FXggsMc3dmwd8o6LuvcUkiKjrb9R2pPpnEs-Yjp9R8Uzu5HGjBvGf9VVmGoOUMevjEu0yZ8z-SvDugVQ_4LF9zPa-a-iC6E5xH_T8Sw4A/s1600/07_RESI-2_supply-drives.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="206" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3qxpYvyeN_E54xvYU_unOAdp0Nsm5EvSfZHdNfUE3eQWdVbExdLbrcpj_YlwvcapN7VoPmqyg-lwEumY5-FXggsMc3dmwd8o6LuvcUkiKjrb9R2pPpnEs-Yjp9R8Uzu5HGjBvGf9VVmGoOUMevjEu0yZ8z-SvDugVQ_4LF9zPa-a-iC6E5xH_T8Sw4A/s1600/07_RESI-2_supply-drives.jpg" width="300"/></a></td></tr></tbody></table>
<h3>Refugee Assistance Supply Drives</h3>
<p>Throughout the performances of <i>A Thousand Splendid Suns</i>, Seattle Opera collected donations to support local refugee families from Afghanistan. Personal care supplies, household items, and other essentials were donated by opera patrons, friends, and opera staff. At the end of the performance run, two van loads were delivered to World Relief Western Washington, an organization that provides initial resettlement services.</p>
</div>
<div class="sub-section perfs">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnTDqScmesKFj43tYR6sjpNiwvKsph7fkyvooX-_5Nb37WyhY1rGhtjNLTth7EsXiOFThGa-U_6yuCrFcpqxuRnshLzy95YYlMmDRms-bjQ1SdYU9ZhHbDHFWou8o4UAg4oI1CVZBzDXcrOM6bXpPgJdOVf090h1ofuvnBtqFXWvhq4ngyzQ4d1Z_d7Q/s1600/08_RESI-2_sensory-perfs.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="494" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnTDqScmesKFj43tYR6sjpNiwvKsph7fkyvooX-_5Nb37WyhY1rGhtjNLTth7EsXiOFThGa-U_6yuCrFcpqxuRnshLzy95YYlMmDRms-bjQ1SdYU9ZhHbDHFWou8o4UAg4oI1CVZBzDXcrOM6bXpPgJdOVf090h1ofuvnBtqFXWvhq4ngyzQ4d1Z_d7Q/s1600/08_RESI-2_sensory-perfs.jpg" width="300"/></a></td></tr></tbody></table>
<h3>Sensory Support/Relaxed Performances</h3>
<p>Designed to address the differing needs of all patrons, Seattle Opera offered its first Sensory Friendly performance at McCaw Hall during our run of <i>La traviata</i> last season. The performance allowed all members of our community to have a wonderful, inclusive opera experience by offering extra supports to patrons with neurodiverse and physical needs. We encouraged everyone to enjoy the performance in whatever way was comfortable for them.</p>
<h4>Features of a Sensory Friendly Show</h4>
<ul><li>dimmed house lights,</li>
<li>areas to use electronic devices,</li>
<li>designated areas to move around,</li>
<li>trained staff to help,</li>
<li>sensory guidebooks,</li>
<li>live performance feeds in the lobby,</li>
<li>ability to go in and out of the auditorium with ease,</li>
<li>talking was allowed.</li></ul>
<p class="blockquote brown" align="center">“Having [autism and Tourette’s] makes it difficult to attend and enjoy things like this. Thanks to you all, me and my mom had an amazing date . . . [The accommodations were] enough to prevent tics for the entire performance as well as prevent anxiety that nothing bad was going to happen if I did so.”<br/><span class="fineprint">–<b><i>Relaxed Performance Audience Member</i></b></span></p>
</div>
<div class="sub-section languages">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj71Ly1sFzKEE1VLIfgD8JU-T1nurIp80HeqV4Un5UcmFpcPB0BWPZwD_GosBP0OK2gERTq23D4eCmDZ-zLb4YAOIT4-Lini2DjrBRLUYLuzBNq-j4ihACi4pmhQeaTnRv94cnqla-_4yONqSJw8DmtrbQEXSrXuaIRwebqrXFPUThjMPMAqKk6-V4wnw/s1600/09_RESI-2_languages.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="999" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj71Ly1sFzKEE1VLIfgD8JU-T1nurIp80HeqV4Un5UcmFpcPB0BWPZwD_GosBP0OK2gERTq23D4eCmDZ-zLb4YAOIT4-Lini2DjrBRLUYLuzBNq-j4ihACi4pmhQeaTnRv94cnqla-_4yONqSJw8DmtrbQEXSrXuaIRwebqrXFPUThjMPMAqKk6-V4wnw/s1600/09_RESI-2_languages.jpg" width="300"/></a></td></tr></tbody></table>
<h3>Global Languages</h3>
<p>The poet Henry Wadsworth Longfellow wrote, “Music is the universal language…” It’s an ideal that we fully embrace. However, English—the language of our supertitles and program book—is not universal. So, now we offer translations of opera synposes in multiple languages in McCaw Hall and online.</p>
<ul><li>Korean</li>
<li>Spanish</li>
<li>German</li>
<li>Vietnamese</li>
<li>Chinese (traditional)</li>
<li>Somali</li>
<li>Russian</li>
<li>Tagalog</li></ul>
</div>
<div class="sub-section staff">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6UZFK-cTNOXcspl4Df2Ng1NO-_w_FkyeEwO9Eadxzi7FtYdhfmgOkG1Jd0vOIQ1D8MHxtQTwvI9PzJP56s6ZTl7v-TThkkmMyCBjNb4iO4yEgfWcRqOkG37gNV2HjPNlfzQrB8fQ1Dd2JzX46vLHGfm3eJ7MJYuOIp3pZputfP3BUP7jMZciWzKL9Gg/s1600/10_RESI-2_staff_philip-newton.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="1000" data-original-width="1500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6UZFK-cTNOXcspl4Df2Ng1NO-_w_FkyeEwO9Eadxzi7FtYdhfmgOkG1Jd0vOIQ1D8MHxtQTwvI9PzJP56s6ZTl7v-TThkkmMyCBjNb4iO4yEgfWcRqOkG37gNV2HjPNlfzQrB8fQ1Dd2JzX46vLHGfm3eJ7MJYuOIp3pZputfP3BUP7jMZciWzKL9Gg/s1600/10_RESI-2_staff_philip-newton.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ready for the party. Seattle Opera staff looking great for last season’s Big Opera Party! © Philip Newton</td></tr></tbody></table>
<h3>Seattle Opera Staff & Board Assessment</h3>
<p>As part of Seattle Opera’s continuing assessment of our progress towards the three Strategic Priorities, we surveyed our staff, board members, volunteers, and others. The results from our recent survey are below. The percentage change from the previous poll in 2019 is indicated inside the parentheses. One hundred sixty-six board and staff members responded. While the company is more diverse and has a better understanding of the importance of equity work, Seattle Opera realizes that considerable work to do. We look forward to continued learning.</p>
<table class="stats">
<tr>
<td><p><b>Board Gender</b></p></td>
<td><p>45% (+ 3%) female<br/>55% (- 3%) male</p></td>
</tr>
<tr>
<td><p><b>Staff Gender</b></p></td>
<td><p>54% (+ 12%) female<br/>43% (+ 9%) male<br/>3% (+ 3%) nonbinary/transgender</p></td>
</tr>
<tr>
<td><p><b>Board Race & Ethnicity</b></p></td>
<td><p>BIPOC 24% (+ 12%)</p></td>
</tr>
<tr>
<td><p><b>Staff Race & Ethnicity</b></p></td>
<td><p>BIPOC 46% (+ 31%)</p></td>
</tr>
<tr>
<td><p><b>Staff Self-Identification</b></p></td>
<td><p>LGBQIA+ 30% (+ 5%)</p></td>
</tr>
<tr>
<td><p><b>Board Self-Identification</b></p></td>
<td><p>LGBQIA+ 8% (+ 4%)</p></td>
</tr>
</table>
<h3>Board & Staff Understanding of Race Equity</h3>
<ul><li>86% (+ 20%) strongly or somewhat have a basic understanding of our RESI work.</li>
<li>70% (+ 31%) strongly or somewhat agree that their department/area is racially diverse and reflects the region’s diversity.</li>
<li>59% (+ 19%) strongly or somewhat agree the opera’s leadership reflects the region’s racial and ethnic diversity.</li>
<li>25% (+ 20) strongly agree that Seattle Opera’s mainstage creative teams reflect a broad diversity or races and ethnicities.</li>
<li>58% (+ 27%) strongly agree that Seattle Opera has a growing understanding of racism as a barrier to effective diversity and inclusion.</li>
<li>55% (+ 11%) somewhat or strongly agree that Seattle Opera seeks assistance on decision making from communities of color.</li></ul>
</div>
<div class="sub-section artists">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhymwj6YUfG8Z4cpqxlsCBGiiWkGSKj49UpOj86ZrS6nVer8LMeOQ3rKuZGz13I-b2yhaYRRtIyxFceTLfWcCQBpiD5aytQB6u_FprHmReD-zlgikLtb4waIJmRNohkzEhkLgrLFkfMUQuBNDW-XN-S2So4gidNFEXLcDGxUxOtwtxbVtuwDj-tjzu7RA/s1600/11_RESI-2_elixir-rehearsal_philip-newton.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="2214" data-original-width="3321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhymwj6YUfG8Z4cpqxlsCBGiiWkGSKj49UpOj86ZrS6nVer8LMeOQ3rKuZGz13I-b2yhaYRRtIyxFceTLfWcCQBpiD5aytQB6u_FprHmReD-zlgikLtb4waIJmRNohkzEhkLgrLFkfMUQuBNDW-XN-S2So4gidNFEXLcDGxUxOtwtxbVtuwDj-tjzu7RA/s1600/11_RESI-2_elixir-rehearsal_philip-newton.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Tess Altivero (left) and Salome Jicia (right) starred our performance of <i>The Elixir of Love</i>, opening our 2022/23 season. © Philip Newton</td></tr></tbody></table>
<h3>Artists Assessment</h3>
<p>In 2022/23 we surveyed principal singers, supernumeraries, and creative team members involved in Seattle Opera productions. One hundred twelve artists responded (48%). Below are key findings.</p>
<table class="stats">
<tr>
<td><p><b>Gender</b></p></td>
<td><p>47% female<br/>43% male</p></td>
</tr>
<tr>
<td><p><b>Race & Ethnicity</b></p></td>
<td><p>68% White<br/>27% BIPOC</p></td>
</tr>
<tr>
<tr>
<td><p><b>Self-Identification</b></p></td>
<td><p>LGBQIA+ 27% yes</p></td>
</tr>
</table>
<ul><li>90% strongly agree that it is valuable for opera companies to examine and discuss the impacts of race.</li>
<li>53% have read Seattle Opera’s Racial Equity Social Impact plan.</li>
<li>47% have a basic understanding of Seattle Opera’s Racial Equity Social Impact plan.</li>
<li>47% know who to talk to at Seattle Opera if they experience/witness racism.</li></ul>
<table class="testimonials">
<tr>
<td class="testimonial"><p align="center">“In the few weeks I have been here, I have seen a great diversity of race and gender identities with everyone being treated fairly and with great respect.”<br/><span class="fineprint">—<b><i>Tristan and Isolde Artist</i></b></span></p></td>
<td class="testimonial"><p align="center">“[As] a person of color I felt 100% invited, included, and welcome from even before I got here.”<br/><span class="fineprint">—<b><i>A Thousand Splendid Suns Artist</i></b></span></p></td>
</tr>
</table>
</div>
<p> </p>
<p>Learn more about Seattle Opera’s mission and vision as well as our commitment to equity at <a href="https://www.seattleopera.org/equity">seattleopera.org/equity</a></p>
<p> </p>
</div>Seattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.com0tag:blogger.com,1999:blog-5630356600537382212.post-10991243660467475872023-08-21T11:12:00.000-07:002023-08-21T11:12:22.333-07:00A Conversation with the Creators of X<style>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCRmEa2oUz8JIoLHUcE0uysHdDKHaVNSMfLzti3P-kvNfBmGe3ACx24hDtpXBzOvRGokVGJOEtZkG3pJhwuO8zPfdtt7UAM7npIl7IjZCNt9DsWVbU4VtG_AikkrVxEk0V43HxfBpLT6NSBp7BqZ3nA3HpXNNq5qluTV6B726Og7PMY0-r_R2fKhOhIg/s1600/1-The%20Davises.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="800" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCRmEa2oUz8JIoLHUcE0uysHdDKHaVNSMfLzti3P-kvNfBmGe3ACx24hDtpXBzOvRGokVGJOEtZkG3pJhwuO8zPfdtt7UAM7npIl7IjZCNt9DsWVbU4VtG_AikkrVxEk0V43HxfBpLT6NSBp7BqZ3nA3HpXNNq5qluTV6B726Og7PMY0-r_R2fKhOhIg/s1600/1-The%20Davises.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">During a talkback session after a performance of X:The Life and Times of Malcolm X at Detroit Opera, the Davises discuss the genesis of the opera with a group of students from Michigan State University.<br/>© Detroit Opera/Austin Richey<br /></td></tr></tbody></table>
<p>During a break in their busy schedules, Seattle Opera brought together composer Anthony Davis, librettist Thulani Davis, and story writer Christopher Davis to discuss the genesis of <i>X: The Life and Times of Malcolm X</i>. It was a lively conversation, much like a family reunion, because the Davises are related. As they reminisced on the many milestones that marked the developments of the opera, Anthony, Thulani, and Christopher recalled the people and circumstances that shaped the opera.</p>
<a name='more'></a>
<div class="x-creators">
<table><tr><td class="image"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmsBAtE3mwkgEyQ3f9C4E2IFDyQ9FrAwaOEgUCPtq6i9banID2qkrTOtwc1lYwzGEWaGu2rZMMGz-DEN_gCy-266WUh5weOIxTabNQpvquVqMz97XgjHukYQWDj2P9seXZklzPZIacOx3gjD-iwGJUS7axfJVBP_OS3hAjqkdULQWFinrwNOVzkLCRXA/s1600/2-anthony-davis.png" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="205" data-original-width="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmsBAtE3mwkgEyQ3f9C4E2IFDyQ9FrAwaOEgUCPtq6i9banID2qkrTOtwc1lYwzGEWaGu2rZMMGz-DEN_gCy-266WUh5weOIxTabNQpvquVqMz97XgjHukYQWDj2P9seXZklzPZIacOx3gjD-iwGJUS7axfJVBP_OS3hAjqkdULQWFinrwNOVzkLCRXA/s1600/2-anthony-davis.png"/></a></td>
<td>
<h4>Anthony Davis</h4>
<p>Heralded as “A National Treasure” for his pioneering work in opera, composer Anthony Davis is the recipient of a Grammy nomination for the 1993 recording of <i>X: The Life and Times of Malcolm X</i> and the 2020 Pulitzer Prize in Music for his most recent opera, <i>The Central Park Five</i>. His music has made important contributions not only in opera, but in chamber, choral, and orchestral music. He has been on the cutting edge of improvised music and jazz for more than four decades. Among Davis’s other operas are <i>Under the Double Moon</i> (1989), a science fiction opera, and <i>Tania</i> (1992), a work based on the abduction of Patricia Hearst. Davis has also been awarded a National Opera Association’s “Lift Every Voice” Legacy Award and a fellowship from the Guggenheim Foundation.<br/> </p></td></tr>
<tr><td class="image"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhza52LvzC86ikHX11luG2a9ySLyM5-VbejTi8GjFU5weAK0YUIe5FbujLF5ILwm8ULaTMoPg6MbWa3_FKBvdHG7za3GZ4i5ZSsm8-rHwE2eVy80_pBY9eJvPcYzYln-tNEXCU_0Rlx1VegTMZ9tsofpLZVARamuO54aZmIB3HvjAtMFVZaOdVjIZRjjw/s1600/3-thulani-davis.png" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="205" data-original-width="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhza52LvzC86ikHX11luG2a9ySLyM5-VbejTi8GjFU5weAK0YUIe5FbujLF5ILwm8ULaTMoPg6MbWa3_FKBvdHG7za3GZ4i5ZSsm8-rHwE2eVy80_pBY9eJvPcYzYln-tNEXCU_0Rlx1VegTMZ9tsofpLZVARamuO54aZmIB3HvjAtMFVZaOdVjIZRjjw/s1600/3-thulani-davis.png"/></a></td>
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<h4>Thulani Davis</h4>
<p>Thulani Davis is an interdisciplinary scholar and writer of poetry, history, journalism, film, theater, and cultural criticism. Davis (cousin of composer Anthony Davis and story writer Christopher Davis) wrote the libretto for <i>X: The Life and Times of Malcolm X</i> and <i>Amistad</i>. <i>The Souls of Black Folks: An Oratorio for Five Actors</i> (2003), <i>Everybody’s Ruby: Story of a Murder in Florida</i> (2000), the adaptation of George C Wolfe’s <i>The Caucasian Chalk Circle</i> (1990), and <i>Where the Mississippi Meets the Amazon</i> (1977) with Ntozake Shange and Jessica Hagedorn are among her stage plays. She is the author of <i>Malcolm X: The Great Photographs</i> (1993), and <i>All the Renegade Ghosts Rises</i> (1978), as well as other books. In 1992, Davis won a Grammy Award for her album notes for <i>Aretha Franklin’s Queen of Soul—The Atlantic Recording</i>, becoming the first female recipient of the award.<br/> </p></td></tr>
<tr><td class="image"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQXFFBE6ay3SLeUANV7P9z3WbUQN1CEJG486uR9p9a6Ns-I5KEyeu9SkRXVANhG2if62tjdoy659_EytuQtV_r2FpigltMA6Bxq16cPCBFTXzYyKjWbqoVzVOxW5IWOSLXlju5PgbOYHOvdKAJJnjiec5NBNaM25km4HHolrHSRj9IHtVe4fDtcDiIOA/s1600/4-christopher-davis.png" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="205" data-original-width="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQXFFBE6ay3SLeUANV7P9z3WbUQN1CEJG486uR9p9a6Ns-I5KEyeu9SkRXVANhG2if62tjdoy659_EytuQtV_r2FpigltMA6Bxq16cPCBFTXzYyKjWbqoVzVOxW5IWOSLXlju5PgbOYHOvdKAJJnjiec5NBNaM25km4HHolrHSRj9IHtVe4fDtcDiIOA/s1600/4-christopher-davis.png"/></a></td>
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<h4>Christopher Davis</h4>
<p>Christopher Davis (brother of composer Anthony Davis) has worked as an actor and director, in addition to his role as story writer for <i>X: The Life and Times of Malcolm X</i>. He performed the role of Malcolm X in <i>El Hajj Malik: A Play about Malcolm X</i> by N. R. Davidson for theater companies in both New Haven, CT and Jamaica, Queens, in addition to creating the role of Nat Turner in <i>Against the Sun</i> by Ihsan Bracy. Since 1990, Davis has worked in market research for Ipsos NA, a multi-national French-held firm, where he is Director of Insights for the Ipsos Affluent Intelligence Group.</p></td></tr></table>
</div>
<p><b>SEATTLE OPERA: Thank you for joining us this morning. We’re looking forward to hearing your thoughts about the opera. We’d like to start by asking what sparked your interest in telling Malcolm’s story in the form of an opera?</b></p>
<p><b>ANTHONY DAVIS:</b> Kip [Christopher Davis] was doing a play called<i> El Hajj Malik</i>, performing as Malcolm X in the play. He spoke to me about the idea of doing Malcolm, doing that story. The autobiography [“The Autobiography of Malcolm X” by Alex Haley] had so many references to music, Kip thought we could tell Malcolm's story through the progression of jazz, let's say from the forties to the sixties, et cetera.
I was intrigued that it should be an opera with Malcolm as a tragic hero. I studied a lot of Wagner when I was in school. I also read a lot of Nietzsche and Kierkegaard’s ideas about opera, and that's what got me really interested in opera. I strongly felt that Malcolm was a tragic hero figure whose story would lend itself to being told in opera.</p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1LOaNUVBIf3u4V5wO4NuPanyoJs3_MYyztrFfdNtlXro0ywmWzqeayxyzJwmDRYtQxMQD7G_hnL-JuSnsNOi_gPXr5D8cPYYooEL7hRHtxZ4v1h3-lm6d-JTiNIk5Blki8y3ou2bn6LjiZi0ueyVmeiRLbiN3b_iv-IAxpDOWrIpaF5L3kox0e7uyhQ/s1600/5-The-Public-Theater.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="800" data-original-width="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1LOaNUVBIf3u4V5wO4NuPanyoJs3_MYyztrFfdNtlXro0ywmWzqeayxyzJwmDRYtQxMQD7G_hnL-JuSnsNOi_gPXr5D8cPYYooEL7hRHtxZ4v1h3-lm6d-JTiNIk5Blki8y3ou2bn6LjiZi0ueyVmeiRLbiN3b_iv-IAxpDOWrIpaF5L3kox0e7uyhQ/s1600/5-The-Public-Theater.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">New York’s Public Theater was one the city’s creative hubs for sparking new and experimental works in ’70s and ’80s, and the Davises were central figures.<br/>© public domain<br /></td></tr></tbody></table>
<p><b>CHRISTOPHER “KIP” DAVIS:</b> Also at the time, we were all in New York in the late ‘70s and early ’80s, which gave us the opportunity to work together. There was a lot of cross-pollination, across disciplines happening then. Anthony and Thulani had done some work together, combining her poetry and his music. We were all sort of involved in what was happening at The Public Theater, where they had concerts after events. So, we were clued into the possibilities of doing something across disciplines.</p>
<p>Anthony was also really interested in exploring longer forms. In the early ’80s he’d worked extensively with choreographers and was looking for other means of expression. I thought that the story of Malcolm X was almost a classic tragedy, including having the false reconciliation in Act Two followed by the true tragic ending in Act Three. At the time, we would all get together, hang out, and talk about this. It was decided that I would generate the story, Thulani would generate the libretto, and then pass it on to Anthony who would then write the music. Did I get that right, guys?</p>
<p><b>ANTHONY DAVIS:</b> Yeah, that’s about it. Thulani and I were working together. We had done a lot of performances with poetry and music during that period. There's a show we did at The Public Theater with Ntozake Shange and Jessica Hagedorn called, <i>Where the Mississippi Meets the Amazon</i>. It was an extraordinary time. We were working with incredible groups of musicians and poets.</p>
<p><b>THULANI DAVIS:</b> I'm not sure this is relevant to writing opera, but one of the things that was extraordinary about putting together <i>Where the Mississippi Meets the Amazon</i> was that everybody could improvise. And who does poetry improvising? But the band was so great, we ended up sort of learning how to improvise and double lines and stuff when the music got hot. That production ran for four weeks. We really go to work together. We [Anthony and I] did one other concert which made me know the opera could work. So, when he asked me about writing the words, I knew that it would work. I had a lot of confidence.</p>
<p><b>SEATTLE OPERA: At the time when you were creating <i>X</i>, were other operas focusing on real people?</b></p>
<p><b>ANTHONY DAVIS:</b> Well, there was <i>Satyagraha</i>, [An opera with music by Philip Glass, libretto by Constance DeJong] which was based on Mahatma Gandhi. There was also <i>Einstein on the Beach</i>, which is a very abstract kind of thing. There was <i>The Life and Times of Joseph Stalin</i> that Robert Wilson did. There were pieces like that at the time. These pieces were very abstract. I think one of the advantages of doing stories about real person is that you don't have to deal with the copyright issues like you do with novels. Also, you can create your own stories out of the history.</p>
<p><b>CHRISTOPHER DAVIS:</b> Yeah, when I created the story of <i>X</i>, I combined several people into composite characters to push the narrative.</p>
<p><b>ANTHONY DAVIS:</b> Like the character of Street. Street is a combination of various people in the autobiography. Focusing on real people is a potent, potent form of storytelling. But since <i>X</i>, I haven't really done any other operas that were based on just one figure. But I think that because of the nature of his story and the tragic nature of his story, I thought it was really an operatic story.</p>
<p><b>THULANI DAVIS:</b> Well also, there weren't ten other composers doing black stories, that was for sure. And you have to know that in the autobiography, Malcolm had composite characters in order to conceal the identity of people who were gangsters that he had run around with. That aided us a lot. There were also things that he fudged in the book, which I didn't find out until later when family members came to see me. We got much more of it straight after the fact. When we approached people who knew Malcolm and told them that we were writing an opera about him and parts of life or really about anything, they didn’t trust us immediately. After they saw the work, then, ... oh, people would share their Malcolm X story. I was like, ‘Damn, where were you three years ago?’ </p>
<p><b>ANTHONY DAVIS:</b> We had a lot of that. A lot of that.</p>
<p><b>THULANI DAVIS:</b> There was a steep learning curve for me after the fact, which was really interesting for me. And most people who knew him—family members and close friends— knew he had fudged certain things in the book, they were kind of okay with us continuing to do that.</p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil5aOVFCVdR5LnlTH0gon8za44dNYt67-keMfFA_jeRaRS0zTiayBvwmx7X9-TbnTipwTR6XFsZDLsPLzCsfEPw3lRDByHNBdzdLsyBKUJ9EBnHFjJaNs_OQW-FwyR_iG_M8s2iLEoYRI4Cqp_NjeH_tS7btvmqMquvhdlQhpYc9mfLSr72ycW3P1XFQ/s1600/6-autobiography.png" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="1700" data-original-width="1300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil5aOVFCVdR5LnlTH0gon8za44dNYt67-keMfFA_jeRaRS0zTiayBvwmx7X9-TbnTipwTR6XFsZDLsPLzCsfEPw3lRDByHNBdzdLsyBKUJ9EBnHFjJaNs_OQW-FwyR_iG_M8s2iLEoYRI4Cqp_NjeH_tS7btvmqMquvhdlQhpYc9mfLSr72ycW3P1XFQ/s1600/6-autobiography.png" width="300"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>The Autobiography of Malcolm X: As Told to Alex Haley</i> was published in October 1965, nine months after Malcolm X’s assassination. Haley coauthored the autobiography based on a series in-depth interviews conducted over two years.<br/>© public domain<br /></td></tr></tbody></table>
<p><b>SEATTLE OPERA: Was Alex Haley involved in it at all? Did he see it?</b></p>
<p><b>ANTHONY DAVIS:</b> Alex Haley. No. A lot was revealed after the fact. Thulani just mentioned people coming up to her saying they knew Malcolm. Our next-door neighbor at Martha's Vineyard, said she dated Malcolm Little in Lansing, Michigan. I didn't know this until, of course, I had already done the opera. Then I started hearing all these stories about playing tennis with Malcolm Little when they were teenagers and stuff like that.</p>
<p><b>CHRISTOPHER DAVIS:</b> I guess the biggest reveals were our encounters with Betty Shabazz [Malcolm’s widow], who, of course, dismissed us like, ‘Who are you?’ And then suddenly it’s happening at City Opera, and she really wants to know who we are. That was kind of a difficult transition, but we were aided very much by Bill Lynch, Chief of Staff to David Dinkins, who was then Manhattan Borough President. He got us all together in a room and we kind of smoothed things out.</p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5Df9_M0PMQxwkrX-wjTA8SgXSCof-cH7eGJAqrOviL-_YZFcfZdMc4glVCTSnbRBQ2GYlfEPzJnEtRfl8zkr2NlK9eBe7g_qzXy1ZYktHBVjRCulxqCeCvY31M-iwxvRkMoTp-77isNdkergUzacn-Z0IOad7Dbku4KemnftT1dA1UXctudi2VuYrwQ/s1600/7-betty-shabazz.png" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="326" data-original-width="580" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5Df9_M0PMQxwkrX-wjTA8SgXSCof-cH7eGJAqrOviL-_YZFcfZdMc4glVCTSnbRBQ2GYlfEPzJnEtRfl8zkr2NlK9eBe7g_qzXy1ZYktHBVjRCulxqCeCvY31M-iwxvRkMoTp-77isNdkergUzacn-Z0IOad7Dbku4KemnftT1dA1UXctudi2VuYrwQ/s1600/7-betty-shabazz.png" width="400"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Betty Shabazz was Malcolm X’s widow. The couple married in 1958 and had six children. After Malcolm’s assassination, Shabazz earned a doctorate and served as a professor health science at Medgar Evers College and public speaker.<br /></td></tr></tbody></table>
<p><b>ANTHONY DAVIS:</b> And of course, Beverly Sills...that's one of the great Beverly Sills stories. Beverly Sills meets Betty Shabazz. It was fantastic.</p>
<p><b>SEATTLE OPERA: How long was the incubation period for <i>X</i>, from the time it was an idea to actually going on stage? </b></p>
<p><b>CHRISTOPHER DAVIS:</b> Well, it got on stage in stages. I would say that the first stage readings from its inception was—I don't know—four months.</p>
<p><b>ANTHONY DAVIS:</b> Yeah. I think I started working on it in ’83.</p>
<p><b>THULANI DAVIS:</b> I can tell you the dates, because I wrote them down. It took me six months to do the first draft.</p>
<p><b>ANTHONY DAVIS:</b> In ’84 we did the FolkFest workshop in Philadelphia at the American Music Theater Festival. Then in ’85, we did another performance in Philadelphia. That was at the Walnut Street Theatre. And then ’86 we were at City Opera.</p>
<p><b>THULANI DAVIS:</b> I wrote down every single one of those dates you're mentioning. I went on my honeymoon in 1981. So what Anthony's saying is when we started workshopping in ’83.
<p><b>SEATTLE OPERA: It seems like much of the opera was written at Martha’s Vineyard.</b></p>
<p><b>ANTHONY DAVIS:</b> Some of it was, yeah. Well, I wrote some of the opera there. Other parts were created in various places. I wrote parts of it in Berkeley, California, actually. A friend of mine gave me her house while she was away so I could just write music. That was a very interesting period, because I was able to get together with composers Paul Drescher and John Adams. We would meet and talk about our projects.</p>
<p><b>CHRISTOPHER DAVIS:</b> I wrote the story mostly at a friend's place in Lake Forest, Illinois. She was working upstairs finishing her dissertation, and I was working downstairs on the story.</p>
<p><b>THULANI DAVIS:</b> I wrote the entire libretto in Brooklyn—in Fort Greene. I don’t think I worked in other places.</p>
<p><b>ANTHONY DAVIS:</b> Most of time I was in Manhattan. I was living at Manhattan Plaza, which is on 43rd Street and Ninth Avenue.</p>
<p><b>THULANI DAVIS:</b> Yeah. After I would send a scene or two, we had these meetings in diners around Manhattan Plaza.</p>
<p><b>CHRISTOPHER DAVIS:</b> And then in my studio apartment in The Village, until the neighbors would knock on the door because we were laughing too loud.</p>
<p><b>THULANI DAVIS:</b> I don't remember going to your place a lot. I think I only ever went there once.</p>
<p><b>SEATTLE OPERA: After almost 40 years, why do you think there is renewed interest in <i>X</i>?</b></p>
<p><b>CHRISTOPHER DAVIS:</b> Well, people caught up to us.</p>
<p><b>ANTHONY DAVIS:</b> George Floyd happened. The reckoning that many opera companies and art institutions had with dealing with race and racism brought a new awareness to it. There were a lot of close calls, with a lot of interest in X over the years with different companies, but it never quite happened. I think many events, including the rise of Black Lives Matter and Malcolm X’s preeminence as a leader and a foreshadower for Black Lives Matter, became a kind of a critical mass that sparked interest. Also, Yuval Sharon, who's the director of Detroit Opera, really, really helped put together the companies that would eventually be involved in the project.</p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF_sD3u_NrNTxBOq8xAo4LTqcRKAeuKjfDMDGYkW18SaLqFs5ppkPT6m5IK_LySnjVfAC7bImpN48HrER996t1m5WAeB09NcCg4i0RRPAkGPac-6ivWvPfJ3SHVSHWw9xsgQcvH_Rm_qEek78dn1_3ogm5zY7loG57fwWIAt9wthUHCuwyJnxBaXj-GQ/s1600/8-george-floyd-mural.png" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="720" data-original-width="1280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF_sD3u_NrNTxBOq8xAo4LTqcRKAeuKjfDMDGYkW18SaLqFs5ppkPT6m5IK_LySnjVfAC7bImpN48HrER996t1m5WAeB09NcCg4i0RRPAkGPac-6ivWvPfJ3SHVSHWw9xsgQcvH_Rm_qEek78dn1_3ogm5zY7loG57fwWIAt9wthUHCuwyJnxBaXj-GQ/s1600/8-george-floyd-mural.png" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Soon after the murder of George Floyd in 2020, three artists—Cadex Herrera, Greta McLain, and Xena Goldman—painted this mural at the murder site located on the corner of East 33rd and Chicago Ave in Minneapolis.<br/>© Twin Cities Pioneer Press<br /></td></tr></tbody></table>
<p><b>THULANI DAVIS:</b> My expression for it is: ‘George Floyd is mighty.’ But I think there were a lot of hesitancies in the past because we had improvisers in the orchestra, which no one at City Opera in the orchestra enjoyed. I think there were plenty of singers at the time to do it, but opera companies did not have Black singers in their companies. When we went to Chicago, there was one Black singer in that company. At City Opera there might have been one. They considered hiring one of our singers after the opera. A lot of people were telling us, well, it would be so expensive for them to get the singers for it. There was lots of stodginess that got in their way. I guess they continued doing things the same way. They could not envision doing this opera with mostly Black singers, a couple of Black dancers, and ten improvisers in the orchestra.</p>
<p><b>CHRISTOPHER DAVIS:</b> I think one of the deterrents also was 9/11. After 9/11 it was not an appropriate time to tell a story that is built on the conversion to Islam as a triumphant moment. That’s a hard sell. It's taken George Floyd to push that off to the side and get us to move on.</p>
<p><b>THULANI DAVIS:</b> I wanted to say that at that time City Opera didn't know how to engage with the public. In other words, we had to sit down and invent interactions with the community. We started at the Schomburg Library, where I had a part-time job. So, we did a piece of it there. We did a piece of it at the Guggenheim. We had to really sit down and invent all of that. </p>
<p><b>ANTHONY DAVIS:</b> Yeah, it was much like a political campaign. It’s very, very interesting what we did.</p>
<p><b>CHRISTOPHER DAVIS:</b> That's why it was important to have Bill Lynch and David Dinkins as enthusiastic supporters of the project.</p>
<p><b>ANTHONY DAVIS:</b> David arranged the meeting with Beverly Sills and Betty Shabazz and us, where Betty Shabazz finally endorsed the opera.</p>
<p><b>THULANI DAVIS:</b> Well, after torturing me. I had to go see her first before anything, and she gave me a hard time. I was just her. Her first question was: ‘Who do you think you are?’</p>
<p><b>CHRISTOPHER DAVIS:</b> That's right. And when the three of us went to meet in her office, she turned to me and said, ‘Are you the lawyer?’</p>
<p><b>ANTHONY DAVIS:</b> The irony was that <i>X</i> was the most popular modern opera ever produced at City Opera in its history. There were buses from Harlem coming to the opera. I mean, it was pretty extraordinary.
<p><b>CHRISTOPHER DAVIS:</b> It just wasn't their subscribers.</p>
<p><b>ANTHONY DAVIS:</b> But it showed a new model of what contemporary opera could do to bring in a new audience, whether they wanted to really deal with the idea that there was a new audience that's eager to see something like <i>X</i>.</p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGwJDzK-J0CJTL3vDuxqaDF3-mc1DhXpqtYAoZhYTMyYi2QAJaC-l2IgrOp0PJ20zaePJ4Z5mzcgOL9SuV1v7rCvlw-P242ReaC7Vd8iZmjrJCZCDHjjxf0xuHT-YSVoxfd9YcJrQQLKWgOAKsWpueBb6Ny9fmcbfkKdemZ0ApiNaNRi0Bndazd0FDyg/s1600/9-New-York-City-Opera.webp" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="687" data-original-width="1024" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGwJDzK-J0CJTL3vDuxqaDF3-mc1DhXpqtYAoZhYTMyYi2QAJaC-l2IgrOp0PJ20zaePJ4Z5mzcgOL9SuV1v7rCvlw-P242ReaC7Vd8iZmjrJCZCDHjjxf0xuHT-YSVoxfd9YcJrQQLKWgOAKsWpueBb6Ny9fmcbfkKdemZ0ApiNaNRi0Bndazd0FDyg/s1600/9-New-York-City-Opera.webp" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">New York City Opera’s presented <i>X: The Life and Times of Malcolm X</i> in 1986. The production starred Ben Holt (center) in the title role.<br/> © New York Times/Carol Rosegg<br /></td></tr></tbody></table>
<p><b>THULANI DAVIS:</b> And they had tickets for seven bucks! They had to add shows because people bought all the seven dollars tickets.</p>
<p><b>SEATTLE OPERA: During the opera’s development—especially while you were workshopping it—did you make any major revisions. Were there areas that were changed or cut?</b></p>
<p><b>ANTHONY DAVIS:</b> The workshop process was amazing. Working with Rhoda Levine [opera director, choreographer] was really amazing. Rhoda was a big part of <i>X</i>. She was, in effect, our kind of dramaturge, because of all her experience in opera and doing so many contemporary operas, like <i>Kaiser from Atlantis</i> and the other operas she was associated with. It was part of my learning curve, how to do an opera. I remember her staging Louise’s scene. There was an instrumental interlude that happened before Louise sings. Rhoda asked me, ‘What is Louise doing during the interlude?’ We ended up writing more words for the scene. Thulani wrote a recitative that sets up the scene as a way to explain where she is and how she's feeling before she sings her aria. That made it ten times more effective than it was originally. There were lots of examples of that. I learned about crafting opera while we created <i>X</i>—what goes into an opera, how the drama works with the music. I think that that was important. I think particularly for a composer doing his first opera, workshops are vital for that.</p>
<p><b>CHRISTOPHER DAVIS:</b> And with your background as an improviser, you were flexible in terms of changing things up. For instance, originally Street and Elijah weren't...those roles weren't doubled. Street was originally a baritone or a bass-baritone.</p>
<p><b>ANTHONY DAVIS:</b> Malcolm is conceived as a high baritone.</p>
<p><b>CHRISTOPHER DAVIS:</b> It was in response to the talent that we found that we rewrote it.</p>
<p><b>ANTHONY DAVIS:</b> Avery Brooks was originally Street in the first workshop. He was so charismatic as Street. He came up to me and said, ‘Well, Tony, could I play Malcolm?’ I said, ‘Okay.’ So, I had Avery play Malcolm, and I had to find a new Street. We were auditioning for Elijah Muhammad. Thomas Young came to sing. He sang Gounod's Faust and an aria from <i>Daughter of the Regiment</i>. I said, ‘Okay, you're Elijah Muhammad, no question.’</p>
<p>Then he said, he was singing in the jazz club in my building. I went to the gig with Kip. He did the most amazing version of “There’s a Boat Dat’s Leavin’ Soon.” It was unbelievable. Then he did Strayhorn and Ellington songs, et cetera. And I said, ‘Well, he’s Street, too.’ I said to Kip, ‘We're going to have Street and Elijah Muhammad played by the same person.’</p>
<p><b>THULANI DAVIS:</b> While we were rehearsing for a workshop, there was a singer playing Elijah who wanted to sing while standing on a ladder. He wanted to be higher than the other singers. His only frame of reference was playing the roles of kings. We were like, ‘Yeah, no. You're going to stand on the same level as everybody else.’ His experience up to that point was nothing like Street or Elijah or Malcolm. He’d not played people who hustled on a street corner in Harlem. They, all of the singers, were, in a sense, being asked to play roles like nothing they had ever played before. We had to show them everything, from how people walk across the stage to the formation and posture of the Fruit of Islam.</p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggfWFR5m_0ZT-GxtWjn_2Av5bRc-A2pCAA092a1sr_1k8W1WRWD9D3tzmKnPEs8dEdw2wMq6hYeaWn-5b4hUhatTaa85APDK135zyiKp_vrNqN0NcU6IkQ1ypPgIIRVsEJ8sOUB1Qfi4lCPTYIrt-LzHltXzoyFGtv5SRgiuk5z1NaPiRlJUfIRX8wIw/s1600/10-detroit-opera.png" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="3468" data-original-width="4624" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggfWFR5m_0ZT-GxtWjn_2Av5bRc-A2pCAA092a1sr_1k8W1WRWD9D3tzmKnPEs8dEdw2wMq6hYeaWn-5b4hUhatTaa85APDK135zyiKp_vrNqN0NcU6IkQ1ypPgIIRVsEJ8sOUB1Qfi4lCPTYIrt-LzHltXzoyFGtv5SRgiuk5z1NaPiRlJUfIRX8wIw/s1600/10-detroit-opera.png" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">In Act III of the opera, Malcolm breaks from the Nation of Islam then makes a transformative pilgrimage to Mecca where he converts to orthodox Muslim and adopts the new name El-Hajj Malik El-Shabazz.<br/>© Detroit Opera<br /></td></tr></tbody></table>
<p>Then there was the prayer scene in Mecca. I was warned about it from the first day I wrote that scene. I was called by a person to whom I described the scene. He said, ‘What are you doing?’ I said, ‘I'm writing this opera and I'm writing the Mecca scene.’ And he was like, ‘Oh God, you cannot depict Mecca. It's a violation of the tenants of Islam. You cannot show Mecca.’ I was like, ‘The scene will show people circling the Black Rock.’ He was like, ‘No, they'll bomb the place.’ And I was like, ‘Oh, okay. Good to know.’</p>
<p><b>ANTHONY DAVIS:</b> Also, you can't set any part of the Quran except the morning prayer. That’s the other thing.</p>
<p><b>THULANI DAVIS:</b> I got a prayer book and set a morning prayer scene. We were somewhat terrorized up until it opened about how that was going to work. We had six Islamic newspapers at the opening. They thought it was very respectful. When we did it in Detroit last spring, several people came up to me who had come from New York to see it. They wanted to know if this was the first time Islamic prayers have ever been done in an opera. And I said, ‘I have no idea. But I wouldn't be surprised.’ The scene really hits people as unusual. Because it's so beautiful, reviewers tend to mention it quite often.</p>
<p><b>CHRISTOPHER DAVIS:</b> I remember we were doing a workshop in BAM [The Brooklyn Academy of Music] in Brooklyn. Avery Brooks went to lunch and found somebody from the Fruit of Islam in full regalia and brought him to the rehearsal.</p>
<p><b>THULANI DAVIS:</b> Well, we were in the perfect neighborhood for that to happen, yeah.</p>
<p><b>SEATTLE OPERA: What would you all like our audiences to know, or take away from <i>X: The Life and Times of Malcolm X</i>?</b></p>
<p>ANTHONY DAVIS: Well, I think an understanding that the fact that culture and history are tied together. Culture, history, politics, and music are interwoven. Also, Blackness comes in different forms of representation. I mean, this is not <i>Porgy and Bess</i>. No, this is not <i>Porgy and Bess</i>. Back in the ’80s when we were creating <i>X</i>, we literally had to take <i>Porgy and Bess</i> out of the performers.</p>
<p><b>CHRISTOPHER DAVIS:</b> And that we are more than love stories. We're bigger than love stories.</p>
<p><b>SEATTLE OPERA: Do you consider this story a biographical?</b></p>
<p><b>CHRISTOPHER DAVIS:</b> No.</p>
<p><b>ANTHONY DAVIS:</b> No, I hate that.</p>
<p><b>CHRISTOPHER DAVIS:</b> That’s what Spike Lee did. When you say biography, it sounds like a made-for-TV series or something. I think that the structure we have makes this a story of transformation. I don't think of it as a straightforward biography.</p>
<p><b>ANTHONY DAVIS:</b> It's a journey in terms of ideas, how ideas formed, and the pathways of how to be a Black man.</p>
<p><b>THULANI DAVIS:</b> When Malcolm asks, ‘What it’s like to be God of an empty man like me?’ that’s a universal human experience. It's not political. It's not something you could say in a biopic. It’s tapping into feelings of desperation, isolation. We've all had moments like that. That’s the power opera can bring.</p>
<p>At the Detroit performance, grown men cried. They were moved by Malcolm’s first aria where he sings about his mother. There is something about what Anthony was saying about exploring Black manhood and the emotional arena of Black manhood. People don’t talk publicly or to each other, necessarily, about those things.</p>
<p><b>SEATTLE OPERA: While we’re thinking about manhood and masculinity, why did you voice Malcolm as a baritone? Footage of Malcolm’s speeches show that his voice was more of a high baritone.</b></p>
<p><b>ANTHONY DAVIS:</b> Not really. Elijah’s voice is definitely a tenor. Also in Black music, the romantic hero is the baritone. It’s Billy Eckstine. When you think of singers from all the way from ’30s or ’40s, et cetera, it’s the baritone voice. It’s not the tenor voice so much. The tenor voice is the trickster.</p>
<p><b>CHRISTOPHER DAVIS:</b> Yeah, It’s Cab Calloway.</p>
<p><b>THULANI DAVIS:</b> Or the occasional Johnny Mathis. The baritone thing seemed more like what we had always heard in those parts, I guess I would say.</p>
<p><b>CHRISTOPHER DAVIS:</b> And there are a lot of male duets, so we wanted to have voices on either side of it. I've seen some stuff recently where the voices are in the same range, and it gets very confusing.</p>
<p><b>SEATTLE OPERA: This has been a wonderful conversation. Thank you so much for sharing your stories about the creation of <i>X</i> with us. We really appreciate it, and we know our audience will enjoy reading this interview. Thank you.</b></p>
<p><br/><strong><i><a href="https://www.seattleopera.org/x">X: The Life and Times of Malcolm X</a></i> runs Febuary 4-March 9, 2024 at McCaw Hall. Tickets and info at <a href="https://www.seattleopera.org/x">seattleopera.org/x</a>.</strong></p>
<p> </p>Seattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.com0tag:blogger.com,1999:blog-5630356600537382212.post-89922910163024734502023-08-07T11:08:00.005-07:002023-08-07T11:11:14.304-07:00Seattle Opera announces new Resident Artist positions<h2 style="text-align: left;">Camille Ortiz and Michael J. Hawk selected for inaugural cohort beginning in July 2023</h2><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8C24i-ej7oOm5c5xD8Rk1zn_p6ULJV8lAHvurwLkyzZm0Bu2wT-BqnxgMY9yKk8SOFDKEo7SQ-0__fBdTTjT-b4KhxDKtrWi2iNHyR2fK15TVACai4F02iY44JXT-rwJnpxqjWlF3imlwQsISabBclZPSlGqZprmzxws77X4fvnWiBoavwY5CXba8fA/s1280/ResidentArtists.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="637" data-original-width="1280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8C24i-ej7oOm5c5xD8Rk1zn_p6ULJV8lAHvurwLkyzZm0Bu2wT-BqnxgMY9yKk8SOFDKEo7SQ-0__fBdTTjT-b4KhxDKtrWi2iNHyR2fK15TVACai4F02iY44JXT-rwJnpxqjWlF3imlwQsISabBclZPSlGqZprmzxws77X4fvnWiBoavwY5CXba8fA/s16000/ResidentArtists.jpg" /></a></div><p><b>General Director Christina Scheppelmann</b> has announced Seattle Opera’s <b><a href="https://www.seattleopera.org/residentartists">Resident Artist</a></b> positions, new paid roles for emerging artists. The Resident Artist role gives opera singers salaried, full-season experience with Seattle Opera, where they will receive professional development, performance, and mentorship opportunities along with the stability of a long-term partnership. <span></span></p><a name='more'></a>“The Resident Artist position offers singers a supportive environment to expand their repertoire and grow as artists,” said <b>Scheppelmann</b>. “Having a consistent, long-term relationship with a larger company will allow these artists to focus on their development while working alongside the company’s staff. We are so excited to welcome Camille and Michael, our inaugural artists, who are already excellent singers with bright, promising futures.” <br /><br /> The position will give audiences the chance to get to know performers over the course of a season, a welcome opportunity in an industry where singers typically travel to different companies for each role. Resident Artists will cover at least two full roles in mainstage and chamber productions at Seattle Opera, stepping in to perform principal roles as opportunities arise. The singers will also give a public recital in Tagney Jones Hall, perform in the <b>60th Anniversary Concert & Gala</b> in May 2024, and participate in a range of Seattle Opera’s public programs, making for a variety of chances to hear these exciting artists. <br /><br /> In addition to their public performances, Resident Artists will receive coaching from Seattle Opera’s music staff and mentorship in opera administration from company management. Additionally, Seattle Opera’s visiting artists will work with the Resident Artists as they prepare roles and develop their operatic careers. <br /><br /> “There has never been a more important time to introduce our new Resident Artists,” said <b>Aren Der Hacopian, Director of Artistic Administration & Planning</b>. “The performing arts are in a period of uncertainty, so we are thrilled to be able to offer a stable home for early-career professionals as they further their careers. Our first Resident Artists, Camille and Michael, are both impressive singers who have already built significant operatic careers. We are excited for our audiences to follow them during their time with Seattle Opera and beyond.” <br /><br /> The inaugural cohort comprises two exciting singers, soprano <b>Camille Ortiz</b> and baritone <b>Michael J. Hawk</b>, who both begin with the company in July 2023. <br /><br /> Camille Ortiz, who currently serves as Assistant Professor of Voice at the University of Oregon, has appeared recently with Opera Lafayette at the Kennedy Center, Opera Orlando, and Boston Baroque. In her time as a Resident Artist, which runs through December 2023, Ortiz will appear in the 60th Anniversary Concert & Gala and will cover Freia and Woglinde in <b><a href="https://www.seattleopera.org/rheingold"><i>Das Rheingold</i></a></b> and Morgana in <a href="https://www.seattleopera.org/alcina"><b><i>Alcina</i></b></a>. <br /><br /> “I feel very lucky to have the opportunity to work with the amazing staff at Seattle Opera, who are a wealth of information,” said Ortiz. “Although I have a lot of experience singing Handel, this will be my first experience singing Wagner. I’m looking forward to the chance to expand my repertoire, which will not only make me a better singer, but a better teacher as well.” <br /><br /> Michael J. Hawk is a graduate of LA Opera’s Young Artist Program, and his recent schedule has included appearances with LA Opera, Santa Fe Opera, and the Buffalo Philharmonic. Hawk will perform with Seattle Opera through the end of the 2023/24 season, singing in the 60th Anniversary Concert & Gala and covering Donner in <b><a href="https://www.seattleopera.org/rheingold"><i>Das Rheingold</i></a></b> and Figaro in <a href="https://www.seattleopera.org/barber"><b><i>The Barber of Seville</i></b></a>. <br /><br /> “I am so excited to be a Resident Artist in the position’s first year,” said Hawk. “The chance to work with a house for an extended period, to have a home base, is something I’ve always wanted. I think as the opera industry changes, programs like this one will be an important part of helping opera flourish as an art form. I hope I get the chance to continue with the program as it grows.” <br /><br /> The Resident Artist role, which was made possible through a generous donation from Joan Watjen, in memory of Craig M. Watjen, joins <a href="https://www.seattleopera.org/creationlab"><b>Creation Lab</b></a> and the <b><a href="https://www.seattleopera.org/classes-camps-clubs/for-adults/seattle-arts-fellowship/">Seattle Arts Fellowship</a></b> in Seattle Opera’s lineup of professional development initiatives, which provide mentorship opportunities for early-stage opera administrators, composers, and librettists.<p></p><p></p>Seattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.com0tag:blogger.com,1999:blog-5630356600537382212.post-50628355446961457872023-08-04T10:24:00.001-07:002023-08-04T11:16:38.733-07:00SINGING DAS RHEINGOLD Podcast & Pictures<p><iframe allowfullscreen="" height="500" mozallowfullscreen="" msallowfullscreen="" oallowfullscreen="" scrolling="no" src="//html5-player.libsyn.com/embed/episode/id/27593583/height/500/theme/standard/thumbnail/yes/direction/backward/" style="border: none;" title="Libsyn Player" webkitallowfullscreen="" width="100%"></iframe></p>
<p>Our new podcast features musical examples from recordings of <i>Das Rheingold</i> ranging from 1904 to 2015. In case you’d like to look while listening, here are photos of some of the singers featured in this podcast.<span></span></p><a name='more'></a><p></p>
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyffHtVMa47uOzWhIR6KF0M4C43hoNO94Iz-a2VoqVI5Vb44Q1TNFzFF5xWZUlTNoADuHvMptLKI9Gss6oOFh3e1FfOoWpDwFkoiXhjFBIeYkR4bbH6lGz-MmY2uAv4bjsn3MN4T3xxg2Svksx1B5TXQJ5CaKlhoNPyfohMCSZ7rE6xay1CsISJJbNFdk/s2256/01.%2005%20Rheingold%20rl%20D_082.JPG" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="2256" data-original-width="1500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyffHtVMa47uOzWhIR6KF0M4C43hoNO94Iz-a2VoqVI5Vb44Q1TNFzFF5xWZUlTNoADuHvMptLKI9Gss6oOFh3e1FfOoWpDwFkoiXhjFBIeYkR4bbH6lGz-MmY2uAv4bjsn3MN4T3xxg2Svksx1B5TXQJ5CaKlhoNPyfohMCSZ7rE6xay1CsISJJbNFdk/s400/01.%2005%20Rheingold%20rl%20D_082.JPG" /></a></div><p><b>Stephen Milling as Fasolt, with Marie Plette as Freia (Seattle 2005).</b> Milling, the great Danish bass, sang Fafner, with Kwangchul Youn as Fasolt, when Japp van Zweden conducted the Hong Kong Philharmonic in <i>Das Rheingold</i> in 2015. (Rozarii Lynch, photo.)</p>
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaoW1IS7kE7te4Mc0EjbXKOuioZ1WbC-ltvV1a1ZnyXy7KKKBOmKU7nFuDInKQTeM2LbZiDYxKWybxqvIGTGe3ziPTKQj-38GExEfJq84K9vxc4VhJUieIEur1vTjn57yP9QqTKgjG4mcBT8BbrxZL3FvRSeGX2dQ1D4tZrdJmC_81GD04VmzI_SwX-Y4/s700/02.%20Uhde,%20Hermann%20Gunter%20Gotterdammerung.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="700" data-original-width="562" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaoW1IS7kE7te4Mc0EjbXKOuioZ1WbC-ltvV1a1ZnyXy7KKKBOmKU7nFuDInKQTeM2LbZiDYxKWybxqvIGTGe3ziPTKQj-38GExEfJq84K9vxc4VhJUieIEur1vTjn57yP9QqTKgjG4mcBT8BbrxZL3FvRSeGX2dQ1D4tZrdJmC_81GD04VmzI_SwX-Y4/s400/02.%20Uhde,%20Hermann%20Gunter%20Gotterdammerung.jpg" /></a></div><p><b>Hermann Uhde. </b>Pictured here as Gunther in <i>Götterdämmerung</i>. Listen on the podcast for a clip of Uhde singing Donner. He was also a mighty Wotan.</p>
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3VktRWaS9O-g9lX41O-eJUohZpPs-T1GfUmQwfd_inUC2yNhdorXBA5orDu4S_WcKjQUqYPql6Pry6EljoEMbHF0wEtp_bbyRk_VZG74MHBpfSDkFS58xacFO3SR7fPG-putwr9ncJ1gA9468EZagT1jZ9l6Kpe4dAe-59DFWCWyEvieaDlA9uRL4DpE/s632/03.%20Lorenz%20Fehenberger%20as%20Pollux%20in%20Der%20Liebe%20der%20Danae.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="632" data-original-width="437" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3VktRWaS9O-g9lX41O-eJUohZpPs-T1GfUmQwfd_inUC2yNhdorXBA5orDu4S_WcKjQUqYPql6Pry6EljoEMbHF0wEtp_bbyRk_VZG74MHBpfSDkFS58xacFO3SR7fPG-putwr9ncJ1gA9468EZagT1jZ9l6Kpe4dAe-59DFWCWyEvieaDlA9uRL4DpE/s400/03.%20Lorenz%20Fehenberger%20as%20Pollux%20in%20Der%20Liebe%20der%20Danae.jpg" /></a></div><p><b>Lorenz Fehenberger.</b> Pictured here as Pollux in Strauss’s <i>Der Liebe der Danae</i>. Fehenberger sang Froh in the RAI Roma <i>Ring</i> conducted by Furtwängler.</p>
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8q_ZvQtE8U6_GTXrqM9Wsm1oTeB0FICJ3EvqiGxmpu_WLfcxh_HdMxJZYEdh0KPuiGELyYg6ru8v0pAfGj-xc313zlwd0viTKA4nVzZWmMvlT6o5wmKuc7olVcQn4f2--yG0gu3JUo_0wn3wA9KLRHtN823FrtRc0TRNbU5W4xXp6cCruFpx_X6t1SWY/s2400/04.%2076%20Rheingold%20bp%204.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="2400" data-original-width="1605" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8q_ZvQtE8U6_GTXrqM9Wsm1oTeB0FICJ3EvqiGxmpu_WLfcxh_HdMxJZYEdh0KPuiGELyYg6ru8v0pAfGj-xc313zlwd0viTKA4nVzZWmMvlT6o5wmKuc7olVcQn4f2--yG0gu3JUo_0wn3wA9KLRHtN823FrtRc0TRNbU5W4xXp6cCruFpx_X6t1SWY/s400/04.%2076%20Rheingold%20bp%204.jpg" /></a></div><p><b>Malcolm Rivers as Alberich (Seattle 1976).</b> Seattle’s first malevolent lord of the Nibelungs trained with Benjamin Britten’s English Opera Group at Aldeburgh. Malcolm Rivers sang the Nibelung in Seattle, in both German and English, from 1975 and 1983 (not including 1981). (Bob Peterson, photo.)</p>
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkyJlYZy97he77swfHAFwRAhsJmyN2eoW3L08ktu9Aum40SMx5S2jqo3xtxCIBiasaCvUrEC74Fwvt03W9WNHrpSFL4CmcOXOwJY60e2d2FhTjoi23uQXw6BOu8eug1g-_bIuHmEhI6um87jkVnqY0lDYJyVtSrWjpJsC07NdEQiuKNbdO2aN6oJzoABU/s1422/05.%20Anton%20von%20Rooy%20Walkure%20Met%201899.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1422" data-original-width="937" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkyJlYZy97he77swfHAFwRAhsJmyN2eoW3L08ktu9Aum40SMx5S2jqo3xtxCIBiasaCvUrEC74Fwvt03W9WNHrpSFL4CmcOXOwJY60e2d2FhTjoi23uQXw6BOu8eug1g-_bIuHmEhI6um87jkVnqY0lDYJyVtSrWjpJsC07NdEQiuKNbdO2aN6oJzoABU/s400/05.%20Anton%20von%20Rooy%20Walkure%20Met%201899.jpg" /></a></div><p><b>Anton von Rooy as Wotan.</b> Photographed in 1899; the clip on the podcast dates from 1908.</p>
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCQmswmeU01nRM-sZBaRpbYoLo4wrxroZeEuQDLKesOuq98W6eT3X4fvZ5gCH4B8U4EVKp9VpaS-qBbZ7ETQCWT0_PYdIifPe0P8b7WwowAsR5bhtfaYScsXUX4XIMRukNXlDc6vYbuenvaH06Fr9M7gzPaLk5z1QQzQLjKATnaXrCLLIbfon3qJVtXKQ/s500/06.%20Schorr,%20Friedrich%20Wotan%20Die%20Walkure.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="500" data-original-width="390" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCQmswmeU01nRM-sZBaRpbYoLo4wrxroZeEuQDLKesOuq98W6eT3X4fvZ5gCH4B8U4EVKp9VpaS-qBbZ7ETQCWT0_PYdIifPe0P8b7WwowAsR5bhtfaYScsXUX4XIMRukNXlDc6vYbuenvaH06Fr9M7gzPaLk5z1QQzQLjKATnaXrCLLIbfon3qJVtXKQ/s400/06.%20Schorr,%20Friedrich%20Wotan%20Die%20Walkure.jpg" /></a></div><p><b>Friedrich Schorr as Wotan.</b> Son of a rabbi, Schorr literally became blood brothers with the great Danish heldentenor Lauritz Melchior (and yes, a recording exists of them singing the <i>Götterdämmerung</i> Blood Brotherhood duet). Schorr was a great Wotan and also an incomparable Hans Sachs in <i>Die Meistersinger</i>.</p>
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHmzbs7JAGhXiRlKTnhCDecQ2TAQADgoBga3DvoHMhKPrxqCfzBzlmAbCCIDO5QXLIbK1BD-h9nmLUyUZ02dRfXGY2S_W1II-J7ip4dbyYeXfKp4IXMDfBx5XrPvgH3QNMHEVwmcqzxv-qhV3pR9hCuEVJKLrHriCw5RGBwQ7-WpE5uR6YFL5EjSeTlas/s1860/07.%2075%20Rheingold%20cb%20unnum2.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1605" data-original-width="1860" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHmzbs7JAGhXiRlKTnhCDecQ2TAQADgoBga3DvoHMhKPrxqCfzBzlmAbCCIDO5QXLIbK1BD-h9nmLUyUZ02dRfXGY2S_W1II-J7ip4dbyYeXfKp4IXMDfBx5XrPvgH3QNMHEVwmcqzxv-qhV3pR9hCuEVJKLrHriCw5RGBwQ7-WpE5uR6YFL5EjSeTlas/s400/07.%2075%20Rheingold%20cb%20unnum2.jpg" width="400" /></a></div><p><b>Noel Jan Tyl as Wotan (Seattle 1975).</b> Seattle’s king of the gods from 1973 through 1977 in both German and English. (Chris Bennion, photo.)</p>
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZDACzDLAzH5yPW8fTtjHFWRh9yHJrw62aJSaMtbgyEJBBGYmS5LnLA77nUCTuElnEvKrW3SAfO12scIw6iWkwjSXq1vZB91YiyfkfErS4THpst-mHzByuvMuqQYFDI_1d8CUjgTgFrXIVPxGvh_1RLh_DwKj-FBiYFRD2YxHpdaD6K-USRofbfPZGNVE/s1500/08.%2095%20Rheingold%20gs%20106.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1500" data-original-width="1236" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZDACzDLAzH5yPW8fTtjHFWRh9yHJrw62aJSaMtbgyEJBBGYmS5LnLA77nUCTuElnEvKrW3SAfO12scIw6iWkwjSXq1vZB91YiyfkfErS4THpst-mHzByuvMuqQYFDI_1d8CUjgTgFrXIVPxGvh_1RLh_DwKj-FBiYFRD2YxHpdaD6K-USRofbfPZGNVE/s400/08.%2095%20Rheingold%20gs%20106.jpg" /></a></div><p><b>Monte Pederson as Wotan, with Peter Kazaras as Loge (Seattle 1995). </b>A native of Yakima, WA Pederson sang the Hoffmann villains, Scarpia, and Wotan in Seattle in the ‘90s. (Gary Smith, photo).</p>
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOgYIW13A15gaAQ8PKkIf_Sx8cby_nD-5Whu8KBcmAks1e6HeZ5sedNcnVPzaFNRmkA8Te9bQa_PEDcbrXpLujeJsuoBizEdjbgvp3atnynEJWwn-ZL1OHIT2OpWmO5gEckCdu30ug6qEDh7CJRTLZGXQqWQ8l0oTVGWqTi4fx2qz4zm_jhvYQ0aD5bJg/s2100/09.%2013RHEINGOLDaa%20102%20crop.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="2100" data-original-width="1500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOgYIW13A15gaAQ8PKkIf_Sx8cby_nD-5Whu8KBcmAks1e6HeZ5sedNcnVPzaFNRmkA8Te9bQa_PEDcbrXpLujeJsuoBizEdjbgvp3atnynEJWwn-ZL1OHIT2OpWmO5gEckCdu30ug6qEDh7CJRTLZGXQqWQ8l0oTVGWqTi4fx2qz4zm_jhvYQ0aD5bJg/s400/09.%2013RHEINGOLDaa%20102%20crop.jpg" /></a></div><p><b>Greer Grimsley as Wotan (Seattle 2013).</b> Grimsley’s Seattle debut, as Telramund in <i>Lohengrin</i> in 1994, proved that the New Orleans-born bass-baritone had great potential as a Wagner singer. He sang Donner and Gunther in Seattle’s 2001 <i>Ring</i> before graduating to Wotan for the 2005 cycle. His role debut won him Seattle Opera’s “Artist of the Year” award. (Alan Alabastro, photo.)</p>
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgteKj63mukcpN17u4WnusbW4VuObzJ_EdDj7LNe9_pKxJusniIHGziOZHpXM563MRVMH_a6XPDUaXv-9OqOsHrRX_OgnO428N3zs_BoSipWGuAWMvt3-7jDGITSYRYOYbwVsjlKDoDBFHB6tePE1nmtcuX09rconZ2T6glG850wg2JqAS4ofCnxVIevhk/s852/10.%20John%20Tomlinson%20Wotan%201991.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="480" data-original-width="852" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgteKj63mukcpN17u4WnusbW4VuObzJ_EdDj7LNe9_pKxJusniIHGziOZHpXM563MRVMH_a6XPDUaXv-9OqOsHrRX_OgnO428N3zs_BoSipWGuAWMvt3-7jDGITSYRYOYbwVsjlKDoDBFHB6tePE1nmtcuX09rconZ2T6glG850wg2JqAS4ofCnxVIevhk/s400/10.%20John%20Tomlinson%20Wotan%201991.jpg" width="400" /></a></div><p><b>John Tomlinson as Wotan (Bayreuth 1991). </b>This great British bass sang at Bayreuth every summer from 1988 to 2006.</p>
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1lMFPqMOzxJK_sKCAPWXhEim5LOJVwZwkJ3p9A1VvBSLy5Mo-95-t-H0ctJxOZL9LNc-iXhrAUbnBY0P0MaEARPUjamWCH-odI1Z3KwYID0Cm2B6A_5scYkuqoZZABHSWSDTFzuX7Iv4kvTf7LnHy2lAUHZGsZKw9JiQzXMWGCBcoj1hQtil-ZB6EFeE/s620/11.%20Marjana_Lipovsek_Rheingold_2002_als_Fricka_c_W_Hoesl_bf2e2ed6f7-1.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="620" data-original-width="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1lMFPqMOzxJK_sKCAPWXhEim5LOJVwZwkJ3p9A1VvBSLy5Mo-95-t-H0ctJxOZL9LNc-iXhrAUbnBY0P0MaEARPUjamWCH-odI1Z3KwYID0Cm2B6A_5scYkuqoZZABHSWSDTFzuX7Iv4kvTf7LnHy2lAUHZGsZKw9JiQzXMWGCBcoj1hQtil-ZB6EFeE/s400/11.%20Marjana_Lipovsek_Rheingold_2002_als_Fricka_c_W_Hoesl_bf2e2ed6f7-1.jpg" width="400" /></a></div><p><b>Marjana Lipovsek as Fricka.</b> Pictured here with John Tomlinson at Munich’s Bayerischen Staatsoper in 2002. Audio clip on the podcast recorded in 1989 (at that theater).</p>
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBii2-kFFhcy87mA7YRzlvbdzg9XIRnZ03g5Xsn9z1pf52Bjz196hWLtDBp3pReupFAYkRnKMvNkkJ1abWu1a0IXKqKrsSAkeDls7SKGWULlE7q_CRF6UP3hRJX6CiWbbQ7N2TmE4zq5vL-znnOyx878VJlveY8KgppTHZ9wdYCgFP6p1bZNu0_DoeuTY/s3162/12.%2009%20Rheingold%20rl%20063.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="3162" data-original-width="2100" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBii2-kFFhcy87mA7YRzlvbdzg9XIRnZ03g5Xsn9z1pf52Bjz196hWLtDBp3pReupFAYkRnKMvNkkJ1abWu1a0IXKqKrsSAkeDls7SKGWULlE7q_CRF6UP3hRJX6CiWbbQ7N2TmE4zq5vL-znnOyx878VJlveY8KgppTHZ9wdYCgFP6p1bZNu0_DoeuTY/s400/12.%2009%20Rheingold%20rl%20063.jpg" /></a></div><p><b>Stephanie Blythe as Fricka, with Greer Grimsley as Wotan (Seattle 2013).</b> Blythe sang her first Fricka in Seattle in 2000, the summer of the “half-<i>Ring</i>” before the full cycle was unveiled in 2001. She’s sung many great performances in Seattle, where her 2008 Amneris in <i>Aida</i> earned her “Artist of the Year.” (Rozarii Lynch, photo.)</p>
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPtDA8xNjmWiyQsjQvS8vD23eRwEwfEDoeyf6_oum8a3T3JHKZRKZ9ZCpPtTsZN3AewIXnKCzmr_jyBrlRzuFdbICZ6NoXPJfvCqG7Wqmtjvlca-sVD6pN1_VWCFL6QebkqWLHo0qnbg_uybn7EsdDsZmx4gD8TiRkpAuVc56-HJuiUqIrPrYpryIbits/s1375/13.%20Hans%20Breuer%20Mime.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1375" data-original-width="1029" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPtDA8xNjmWiyQsjQvS8vD23eRwEwfEDoeyf6_oum8a3T3JHKZRKZ9ZCpPtTsZN3AewIXnKCzmr_jyBrlRzuFdbICZ6NoXPJfvCqG7Wqmtjvlca-sVD6pN1_VWCFL6QebkqWLHo0qnbg_uybn7EsdDsZmx4gD8TiRkpAuVc56-HJuiUqIrPrYpryIbits/s400/13.%20Hans%20Breuer%20Mime.jpg" /></a></div><p><b>Hans Breuer as Mime.</b> Also a stage director, later in life. Seattle Opera's 1984 <i>Ring</i> was directed by another singer who also specialized in Mime, Ragnar Ulfung.</p>
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGbE4FsQPQYlSyv6jrGRhm9IQCEVSYuTqzzC4exS6RXK9uBeYEflPmLeKhV2cZ_Qc5FxSou8kf4bt9dFXfLlIY-FtRAnXw1eExbQnSGyM6cfPKPmMbrnA6BMFmf5_81URjBk-lfghl4Q47NnkEiemFlsgoUZ2pv4_8Rjdhum-eH28y0gG3kLSYBq4Vyoc/s1204/14.%2013RHEINGOLDaa5x7%20176b.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1204" data-original-width="999" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGbE4FsQPQYlSyv6jrGRhm9IQCEVSYuTqzzC4exS6RXK9uBeYEflPmLeKhV2cZ_Qc5FxSou8kf4bt9dFXfLlIY-FtRAnXw1eExbQnSGyM6cfPKPmMbrnA6BMFmf5_81URjBk-lfghl4Q47NnkEiemFlsgoUZ2pv4_8Rjdhum-eH28y0gG3kLSYBq4Vyoc/s400/14.%2013RHEINGOLDaa5x7%20176b.jpg" /></a></div><p><b>Dennis Peterson as Mime (Seattle 2013). </b>(Alan Alabastro, photo.) After singing Mime in Seattle in 2009 and 2013, Peterson sang Mime for Minnesota Opera in 2016, when Brian Staufenbiel's production was first created.</p>
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu0xnJe7VpSgUjv9_M5P-b5rRUiS4s2YhKvOa8RvOUm2YNRujUPd5gVk0g6e0TUgGDijQcIKbyLAGGd4oPoNJXH9f5zULDLiz-K4e6-tczgxVhskHPz5_N03DDDGpYGw6PigAepv52fZzbn75EgLgu531lc-tD5FTCUVLv47HkmBThORbAFA2IQpKoDSQ/s700/15.%20Kuen,%20Paul%20Mime%20Siegfried.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="700" data-original-width="569" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu0xnJe7VpSgUjv9_M5P-b5rRUiS4s2YhKvOa8RvOUm2YNRujUPd5gVk0g6e0TUgGDijQcIKbyLAGGd4oPoNJXH9f5zULDLiz-K4e6-tczgxVhskHPz5_N03DDDGpYGw6PigAepv52fZzbn75EgLgu531lc-tD5FTCUVLv47HkmBThORbAFA2IQpKoDSQ/s400/15.%20Kuen,%20Paul%20Mime%20Siegfried.jpg" /></a></div><p><b>Paul Kuën as Mime.</b>
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihVKYWo25CjiXN1yVaH8HoaclglrxwPbSffAMXJpwOs9nS_82vWcUE4_FeyBZki6doNTWyQJhHOF1RV9PNCzCCewIyty3tO1MAckcRGpMs1THz2bDeoH4wK0jnAEavl5Xp0bcexNUs1fbopzx5IIbANqYTXE0ulcumXEQf_frzcUztWRpqejX0Ay6jSWQ/s612/16.%20helmut%20pampuch%20mime.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="408" data-original-width="612" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihVKYWo25CjiXN1yVaH8HoaclglrxwPbSffAMXJpwOs9nS_82vWcUE4_FeyBZki6doNTWyQJhHOF1RV9PNCzCCewIyty3tO1MAckcRGpMs1THz2bDeoH4wK0jnAEavl5Xp0bcexNUs1fbopzx5IIbANqYTXE0ulcumXEQf_frzcUztWRpqejX0Ay6jSWQ/s400/16.%20helmut%20pampuch%20mime.jpg" width="400" /></a></div><p><b>Helmut Pampuch as Mime.</b> Photographed in San Francisco in 1983 or 1984. Audio clip on the podcast recorded in Bayreuth 1991.</p>
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif6Wm4mxoJjFnjkCWZuHN2jKM3FQAFH64oMDmcXI7v4qe08xhJMIomrV_Hh-z5KoA2N7MJa4_O38YV9KojZucpdkmllbHaziwLh3L5hG8ZtjSiAWi0P8vNd4R6-3JsGI15pejhSsgaie3xm7LaEd0GIfmWRV7dxypKu5IRrNruFM7p1niFJTtotiiIRk8/s2000/17.%20Untitled-29.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1390" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif6Wm4mxoJjFnjkCWZuHN2jKM3FQAFH64oMDmcXI7v4qe08xhJMIomrV_Hh-z5KoA2N7MJa4_O38YV9KojZucpdkmllbHaziwLh3L5hG8ZtjSiAWi0P8vNd4R6-3JsGI15pejhSsgaie3xm7LaEd0GIfmWRV7dxypKu5IRrNruFM7p1niFJTtotiiIRk8/s400/17.%20Untitled-29.jpg" width="400" /></a></div><p><b>George Shirley as Loge (Covent Garden 1978). </b>Shirley sang the fire god in London’s Colin Davis/Götz Friedrich <i>Ring</i> in 1974, ’75, ’76, and ’78. Seattle’s first African American Wagner singer was Simon Estes, Hagen in 1977. (Donald Southern, photo.)</p>
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR8Ft9leC6EEJ3MHybLEKhezGTOmbP3bsRcGhOriQXMvlaVJtvLRiT7GdGWo1my11t9UL7OsySR03SACrT-ueI5YEsc-ayuXsvMb1dpyFFCuNiyD4Gl-h9jg0s5_8tgz_-DITUAkgqwsv2w64BcEGGdsmuLr4nPQSaqeg4YgVtnwApmCqaJK81GRL1v9g/s2185/18.%20Schumann-Heink,%20Ernestine%20Erde%20Siegfried.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="2185" data-original-width="1488" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR8Ft9leC6EEJ3MHybLEKhezGTOmbP3bsRcGhOriQXMvlaVJtvLRiT7GdGWo1my11t9UL7OsySR03SACrT-ueI5YEsc-ayuXsvMb1dpyFFCuNiyD4Gl-h9jg0s5_8tgz_-DITUAkgqwsv2w64BcEGGdsmuLr4nPQSaqeg4YgVtnwApmCqaJK81GRL1v9g/s400/18.%20Schumann-Heink,%20Ernestine%20Erde%20Siegfried.jpg" /></a></div><p><b>Ernestine Schumann-Heink as Erda. </b>This great contralto sang at Bayreuth between 1896 and 1914. She became an American citizen and sang at the Met through 1932.</p>
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<p></p>Jonathan Deanhttp://www.blogger.com/profile/11655629660579464336noreply@blogger.com0tag:blogger.com,1999:blog-5630356600537382212.post-60632749580709430922023-07-24T13:24:00.001-07:002023-07-24T13:24:46.705-07:00Retired Horn Player Remembers Seattle Opera’s First Wagner Tubas<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfd5HXaNDXcWBSFAAHReVM7UEIkx4qIVMta0FjkSKnFxYcYudlJXzBQcb9FtFEqBX6Xi0WsRqKy3GS1f13M3MLpnsc-fUbrqmRfBTl90xEEeJjAebzu5Umt5TbF6X6Ue-qJuMlx7s_yeNXzgzHzu0emzkOFotVzmEMRIZQ0NqpNiZIYbfrWt1ahiQY0g/s1600/1_blog_Double-Wagner-Tuba.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="1067" data-original-width="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfd5HXaNDXcWBSFAAHReVM7UEIkx4qIVMta0FjkSKnFxYcYudlJXzBQcb9FtFEqBX6Xi0WsRqKy3GS1f13M3MLpnsc-fUbrqmRfBTl90xEEeJjAebzu5Umt5TbF6X6Ue-qJuMlx7s_yeNXzgzHzu0emzkOFotVzmEMRIZQ0NqpNiZIYbfrWt1ahiQY0g/s1600/1_blog_Double-Wagner-Tuba.jpg" width="400"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Wagner Tuba was commissioned by the composer in 1874. The first tubas were built by Georg Ottensteiner in Munich, Germany.<br /></td></tr></tbody></table>
<p>Back in the mid-1970s, there weren’t many places to experience <i>Der Ring des Nibelungen</i> in its entirety. Fortunately for us, Seattle was the only place in the US to showcase Richard Wagner’s masterwork at that time. Our first <i>Ring</i> cycle was in 1975 under the stage direction of George London and baton of Henry Holt. That production featured nearly 200 artists, including Walter Cole, one of four Wagner tuba players.</p>
<p>“Those first <i>Ring</i> cycles were some great times,” Cole said, “especially for us—the horn players.” In addition to the music, Cole and his three colleagues were eager to play the four new Wagner tubas that the opera had acquired especially for the performance. “I’ve been a musician all my life, but that is one of my proudest moments,” said the 92-year-old retiree.</p>
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<p>A native of the Midwest, Cole studied at the University of Nebraska and was a member of the United States Air Force Band, performing in Washington, DC, and Tacoma. He earned a master’s degree from the University of Washington and had a thirty-plus year career as a music educator. “I loved being a music teacher,” said Cole about his career.</p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4tqRr_0pZtiOr7L68f9haOkElunbbGqE5IugwQwXms0JkaB_WLLRKGHDMy_u9N6FM5kIKqfMKhWInMNNxpr_gBTw6ns8VdTxe_mEU6yMDiZ2evKifADjDUWWS_KxrAaXXdMbv1xX6xSYWGRWdnLXVuYiRp23gMlfCu0rxuPVQ8XEd2Dg09KwfK_jq9Q/s1600/2_blog_Walter-Cole-1973-Ring.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="1035" data-original-width="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4tqRr_0pZtiOr7L68f9haOkElunbbGqE5IugwQwXms0JkaB_WLLRKGHDMy_u9N6FM5kIKqfMKhWInMNNxpr_gBTw6ns8VdTxe_mEU6yMDiZ2evKifADjDUWWS_KxrAaXXdMbv1xX6xSYWGRWdnLXVuYiRp23gMlfCu0rxuPVQ8XEd2Dg09KwfK_jq9Q/s1600/2_blog_Walter-Cole-1973-Ring.jpg" width="400"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">A 1973 clipping from the Seattle Post-Intelligencer about Seattle Opera’s Wagner Tubas. Walter Cole (pictured in white shirt) was a member of the horn section at the time.<br /></td></tr></tbody></table>
<p>When asked which of the four operas he enjoyed most, his reply: “I enjoyed them all. When you play all of them in sequence everything builds and builds.”</p>
<p>The Wagner tuba, also called a Wagnertuben, Ring-tuben, or Bayreuth-tuben, was commissioned by the composer specifically to spotlight the leitmotifs in <i>The Ring</i>. Sound-wise, the instrument bridges the tones of the French horn and the trombone. It is often described as having the “round,” “soft,” and “full” feel of horns combined with the “majestic” resonance of trombones. </p>
<p>“The fact that Wagner commissioned the tubas for his <i>Ring</i> cycle shows how ambitious and visionary he was,” said Ludovic Morlot, who will be conducting Seattle Opera’s production. “The tubas create the perfect link between the French horns and trombones in terms of sound and color but also range. The instruments provide Wagner’s orchestral writing with even more texture—from something of an unearthly quality to a truly majestic effect.” These tones are especially prominent at the points depicting the majesty of Valhalla and when Alberich uses magical power to transform into a dragon.</p>
<p>Of course, the tubas played by Walter Cole and his fellow horn players have been long been replaced with ones acquired through a gift from Jeff and Martha Sherman. But that has not diminished Cole’s eagerness to see the opera and to create new musical memories. “I have my ticket and I can hardly wait to hear that wonderful music once again.”</p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdLwhFWqTYHl7opsba9vyAQ34ndKakmN_ERuE4H_GkGqhOy-UXWrpyNFL3umW-5SQ7T0Cp0Y8jz-uWOj-opSwLxi60phwfFLN0qO1LYwC2qgPAdK5v978ChCl_Qgn06VjUUyZmBiGyuP-CQ_kzrhBdT8Mxm4GxIE4B9oLJOWquSYf4oNYfmVrDNka2Bg/s1600/3_blog_Sherman-Wagner-tuben-photo.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="680" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdLwhFWqTYHl7opsba9vyAQ34ndKakmN_ERuE4H_GkGqhOy-UXWrpyNFL3umW-5SQ7T0Cp0Y8jz-uWOj-opSwLxi60phwfFLN0qO1LYwC2qgPAdK5v978ChCl_Qgn06VjUUyZmBiGyuP-CQ_kzrhBdT8Mxm4GxIE4B9oLJOWquSYf4oNYfmVrDNka2Bg/s1600/3_blog_Sherman-Wagner-tuben-photo.jpg" width="640"/></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Leadership Circle members Jeff and Martha Sherman (third and fourth from the left) with members of the Seattle Opera and Symphony Players holding the company’s own Wagner tuben.<br /></td></tr></tbody></table>
<p><i><a href="https://www.seattleopera.org/rheingold">Das Rheingold</a></i> runs August 12-20, 2023 at McCaw Hall. Tickets and info at <a href="https://www.seattleopera.org/rheingold">seattleopera.org/rheingold</a>.</p>
<p> </p>Seattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.com0tag:blogger.com,1999:blog-5630356600537382212.post-75067276331076533522023-07-12T11:06:00.002-07:002023-07-18T16:45:19.280-07:00Tasveer and Seattle Opera announce new partnership<h2 style="text-align: left;">The South Asian film and arts nonprofit will host annual Film Summit in Tagney Jones Hall</h2><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8v0FTmxHehX762gZgnMn6o2grLcboXslem11XiDAGmDSaZCrmbtrzX4ej-WPfYYj977bKTMHXlbUc13lTuhABCKmZekIIP4i2iDxdDWj9wZ4Ima5Jxt63PujZV0XVUAP3DaW0nKOA_QuPUF-fq9bAeEEsFX5Rnw5_Wyu7QX0xanmFfsy8IhYi_7Xv3w/s5040/06092023%5BHiRes%5D-88.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3360" data-original-width="5040" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8v0FTmxHehX762gZgnMn6o2grLcboXslem11XiDAGmDSaZCrmbtrzX4ej-WPfYYj977bKTMHXlbUc13lTuhABCKmZekIIP4i2iDxdDWj9wZ4Ima5Jxt63PujZV0XVUAP3DaW0nKOA_QuPUF-fq9bAeEEsFX5Rnw5_Wyu7QX0xanmFfsy8IhYi_7Xv3w/w640-h426/06092023%5BHiRes%5D-88.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Tasveer staff members Rita Meher, Anterpreet Bains, Uzma Khan, and Khenrab Palden. © David Jaewon Oh.</td></tr></tbody></table><p>The South Asian film and arts nonprofit <b>Tasveer </b>has moved its administrative staff into the Opera Center, where they will share facilities and event space with Seattle Opera staff. In addition to access to workspace, storage, and technical support, Tasveer will host its <b><a href="https://tasveerfestival.org/">annual Film Summit</a></b> in Tagney Jones Hall, Seattle Opera’s 200-seat theater.<br /></p><span><a name='more'></a></span><p>“We are looking forward to having our next festival in Tagney Jones Hall,” said <b>Operations Manager Khenrab Palden</b>. “Being at Seattle Center is the opportunity to showcase our programs to a much wider audience. This relationship with Seattle Opera gives us a chance to share our heritage and art with the larger Seattle community.”<br /><br />The partnership was made possible through a grant from <b>4Culture/King County</b> called <a href="https://www.4culture.org/press-building-for-equity/"><b>Building for Equity</b></a>, which supports building projects for arts and cultural organizations and creates a pathway for equitable resource allocation. <br /><br /> “This program gives 4Culture a blueprint for action. Addressing historic inequities in our sector will allow us to serve more organizations and communities throughout King County,” said <b>Brian Carter, Executive Director of 4Culture</b>. “There is no better place to start than with a program that makes cultural spaces possible—where people come together to express themselves and build communities.” <br /><br /> Tasveer’s residency, which is slated for an initial three-year commitment, provides the organization the chance to develop a plan to build a space of their own. “We are launching our own capital campaign,” said <b>Rita Meher, Tasveer Co-Founder and Executive Director</b>. “Being here gives us time to build our fundraising capacity. I’m not sure that we can acquire our own building in three years, but being here lets us get started. Programs like this one are a form of activism, leading to the creation of equitable systems that assist under-resourced organizations.”<br /><br /> Tasveer is Seattle’s only South Asian-led arts organization with a full-time staff. Since 2002, Tasveer (which means “picture” in Hindi and Urdu) has held an annual film festival, hosted numerous film summits, and offered a variety of classes and workshops. Founded in the aftermath of 9/11 to counter stereotypes and provide a platform for South Asian stories, Tasveer aims to spark important conversations about the South Asian diaspora. “We [South Asians] were and remain highly underrepresented in the media,” said Meher, who co-founded Tasveer with Farah Nousheen. <br /><br /> “We are thrilled for Tasveer to join us in the Opera Center,” said <b>Dennis Robinson, Jr., Seattle Opera’s Director of Programs and Partnerships</b>. “In 2019, Seattle Opera began its own journey toward racial equity by initiating a <a href="https://www.seattleopera.org/globalassets/downloads/racial-equity-plan.pdf">Racial Equity and Social Impact plan</a>. It is important for our organization to continue amplifying the stories of communities who are not recognized enough. Working with organizations like Tasveer offers an opportunity not only to share those stories, but to provide a platform for the people who have lived them to tell their own stories.”<br /><br /> <b>About Tasveer</b><br />Founded in March 2002, in the aftermath of 9/11, Tasveer has grown to be one of the biggest platforms in lending a voice and an ear to inspire social change in the larger Seattle community. In March 2004, Tasveer was incorporated as a Washington state non-profit and in April 2013 became a federally recognized 501c3 organization. Tasveer aspires to continue creating fresh and innovative platforms to bring the South Asian community together. Through the Tasveer South Asian Film Festival, Aaina and Yoni ki Baat, Tasveer South Asian LitFest, and more, Tasveer continues to incorporate visual and narrative art to reflect and highlight the issues and dilemmas faced by our community.<br /><br /> <b>About Seattle Opera</b><br />Established in 1963, Seattle Opera is committed to serving the people of the Pacific Northwest through music, storytelling, and programs for people of all ages. Each year, more than 50,000 people attend the company's performances, and more than 100,000 people are served through school performances, radio broadcasts, and more. The organization brings opera to life in a number of different ways, offering artistic excellence through national and international collaborations. Seattle Opera strives to create an environment where artists, staff, behind-the-scenes workers, and members of the community feel a strong connection to the company, and to the art of opera. Follow Seattle Opera on Facebook, Twitter, SoundCloud, and on Classical KING FM 98.1.</p>Seattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.com0tag:blogger.com,1999:blog-5630356600537382212.post-22052155369949981912023-07-10T12:37:00.008-07:002023-07-10T14:04:59.424-07:00A Conversation With Denyce Graves<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_6Oh7sV_8o5fdU1yn-EBZfLKGvRdma3TDqyo3ml8iXQX9wDz4aitFB1VytpvWIZPbmahF8nKd_i6c_MWbqZEucFN7Vnbp9KfS0QbcP1mFgoyi7dibO4rx20oV-g2Hul6uk7i45io59qVs-hUyb_IA-G0wa7qNBXW3-maA9T0rayPo0yl89zjqW49rWA/s1600/conversation-with-denyce-graves_bio.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="1020" data-original-width="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_6Oh7sV_8o5fdU1yn-EBZfLKGvRdma3TDqyo3ml8iXQX9wDz4aitFB1VytpvWIZPbmahF8nKd_i6c_MWbqZEucFN7Vnbp9KfS0QbcP1mFgoyi7dibO4rx20oV-g2Hul6uk7i45io59qVs-hUyb_IA-G0wa7qNBXW3-maA9T0rayPo0yl89zjqW49rWA/s1600/conversation-with-denyce-graves_bio.jpg" width="400px" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Devon Cass<br /></td></tr></tbody></table>
<p>Considered as one of the preeminent mezzo-sopranos of her generation, Denyce Graves has performed in many of the world’s most important opera houses, sharing the stage with many distinguished opera stars. Widely acclaimed for her signature title roles in <i>Carmen</i> and <i>Samson and Delilah</i>, Graves has appeared on <i>Sesame Street</i> and <i>Between the Lions</i> and featured on CBS’s <i>60 Minutes</i>. She’s performed during the 55th Presidential Inauguration of Vice President Dick Cheney and George W. Bush. She’s sang “America the Beautiful” and “The Lord’s Prayer” at Washington National Cathedral during the memorial service for the victims of 9/11. And most recently, Graves has sung at the US Capital as her friend Ruth Bader Ginsburg’s casket was lying in state. In this conversation with Seattle Opera, Graves talks about her mother’s influence, performing with Elmo, her passion helping the next generation of classical performers, and more.</p>
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<p><b>SEATTLE OPERA: When did you realize that you wanted to be a singer, in particular an opera singer?</b></p>
<p><b>DENYCE GRAVES:</b> I know it was unusual for a little girl from Southeast Washington, D.C. to say, ‘I want to be an opera singer.’ I was 13 years old, when I heard a recording of Leontyne Price singing Puccini. I had never heard anything so glorious in my life. My friend told me about the recording. She said, ‘Denyce, I have just heard something that you have got to hear. I don't know what it is.’ She said, ‘I think it’s opera.’ She said, ‘It's a black lady. You have got to hear it.’</p>
<p>We went to the listening library at school. We put the needle on the album and listened to the end. I said, ‘Play it again.’ We listened to the album all day, we didn’t eat. We didn’t go to the bathroom. We stayed all day. Finally, we were told to leave when the library was closing.</p>
<p>Listening to her sing over and over and over and over and over made up our minds. My friend and I both decided in that moment that we wanted to be just like Leontyne Price.</p>
<p><b>SEATTLE OPERA: Your mother was an early endorser of your talents. She had an out-sized influence on your musical career. Tell us a little bit about your mom.</b></p>
<p><b>DEYNCE GRAVES:</b> I’m so glad that you asked about my mother. So, thank you. The fact of the matter is my mother played a huge part in launching my career. While she did not find the recording of Leontyne Price, it was her who had me stand up in church. That was my first audience. My family had a singing group called, The Inspirational Children of God, and we would sing during Sunday services. She didn't realize—or maybe she did realize—what she was creating in that moment. Singing in the church taught us how to stand up in front of people, how to behave in public, how to speak properly, and how to display the talents that God had given us. And we had no choice in the matter. It was what we had to do.</p>
<p><b>SEATTLE OPERA: Would you say that Leontyne Price was your vocal mentor? She certainly nspired you to start, to be curious about a career in opera. Did you have other vocal mentors?</b></p>
<p><b>DENYCE GRAVES:</b> It wasn’t until when I was singing at the Metropolitan Opera that I had the opportunity to meet Leontyne Price. She invited me to her home. The two of us talked about singing and the profession. Growing up I listened to Marilyn Horne, Grace Bumbry, and Shirley Verrett, all of whom I had the great pleasure of meeting. They also became my music mentors—artists that I wanted to emulate and who inspired me. What’s more, I would add Janet Baker to that list. She was someone that I listened to a lot.</p>
<p><b>SEATTLE OPERA: You’ve shared the stage with many of the great singers of our time, among them Plácido Domingo. However, I would like to know what it was like to perform with the widely acclaimed, multi-talented Elmo?</b></p>
<p><b>DENYCE GRAVES:</b> The performances that I did on <i>Sesame Street</i> made me really cool in my family, certainly among my nephews. I became “Cool Aunt Denyce” after appearing on <i>Sesame Street</i>. I loved doing those programs. But I will tell you, they weren’t easy—not easy at all. The sessions were very long. Some of them were ten-hour days.</p>
<p><b>SEATTLE OPERA: Why did they take so long?</b></p>
<p><b>DENYCE GRAVES:</b> There were so many technical aspects to iron out to produce those segments. There was a lot of hurry up and wait. The recording sessions sometimes took all day. I would arrive ready to sing then something would take 30 minutes to set up. So, I would go to the ladies’ room to vocalize to keep my voice warm. That went on and on and on and on. I would sing myself out before the tapings actually happened. On top of that, the studios were always freezing. They were ice boxes.</p>
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<p>I believe I did 10 episodes of shows like <i>Sesame Street</i> and <i>Between the Lions</i>. I was always impressed by the show’s creative teams. They would take famous melodies and add new words for me to perform. The crew would hold up cue cards with just the words. It was left up to me to make the new words fit the melodies. It was tricky. “Elmo’s Bedtime Lullaby” is one of my favorite episodes. [Graves sings “Habanera” from Bizet’s <i>Carmen</i>] <i>‘The singing stars are twinkling up in the sky, it's time for you to go beddy-bye.’</i> Now, that was really tricky.</p>
<p><b>SEATTLE OPERA: Through your foundation, you've supported young music students, particularly those students at historically black institutions. You’re connecting those students to opportunities in major conservatories and opera houses. Why is this work important to you?</b></p>
<p><b>DENYCE GRAVES:</b> When I meet the young and up and coming talent, I can see myself in their faces. They want the same things that I wanted when I was starting out—they want to pursue the same things that I wanted to pursue. I feel that we have a responsibility and an obligation to join with them in the pursuit of their dreams. I…we… have a responsibility to give back.</p>
<p>I've been able to have this career because so many people helped me. I mean, people know my name, but they don't know the names of all the people who helped me get here. I've not done this alone at all. And that phrase, ‘I stand as one, but I come as 10,000,’ is true for me and any many others. I want to be helpful in the same way that people have extended themselves to me. That's the greatest blessing about my 40-something years in the business. So many people have shaped my life and reshaped who I am.</p>
<p>I think it is also important that we celebrate the amazing Black classical artists we know and the many that we don’t know. We need to ensure that the next generation knows them too. We are not a monolith. There’s isn’t anything wrong with soul music or R&B or jazz or blues and all those things, but we are many, many, many different things. Classical artists of color have been around as long as classical music has been around but that's not been part of our education. So, I’m passionate about sharing the excellence of artists like Chevalier Saint-George, William Grant Still, and Nathaniel Dett along with Mozart, Bach, and Beethoven. Some of the work that we’re doing at the foundation is making sure those names are included in the curriculum, that they become part of the learning for everybody.</p>
<p><b>SEATTLE OPERA: Your foundation has played an important role in revitalizing interest in Mary Cardwell Dawson as well.</b></p>
<p><b>DEYNCE GRAVES:</b> Yes, that’s true. Our foundation was instrumental in getting the seed money needed to restore Mary Cardwell Dawson’s historical property. She was the founder of the National Negro Opera Company in 1941. Our foundation has led some of the restoration’s philanthropic efforts. For example, after reaching out to First Lady Laura Bush, we were sent $800,000 towards the project.</p>
<p>We're very, very proud to have been instrumental in preserving the legacy of Mary Cardwell Dawson, and making sure that the world-at-large knows this great woman. We wouldn't be able to go to Beyonce’s Renaissance tour if it weren't for the likes of Mary Cardwell Dawson.</p>
<p><b>SEATTLE OPERA: When our country is in mourning, your voice has been heard as we collectively heal. Please tell us about your connection with Washington’s National Cathedral.</b></p>
<p><b>DENYCE GRAVES:</b> I was born and raised in Washington, DC. I've had a presence in the city all my life and my relationship with Washington National Cathedral is long and deep. So, if there are special services—an Easter service, the dedication of a new window, or something of that nature—they often call me to sing. And I’m happy to do it.</p>
<p>After the events of 9/11, it was not unusual that the cathedral would reach out to me. Little did I know that it was going to be in front of five sitting presidents and what it would mean to our country in the weeks following. I’ve sang at the funeral of President Ford and for many important dignitaries during the Clinton and Bush administrations. Most recently, I sang for the unveiling of the portrait of Speaker Nancy Pelosi at the Capitol.</p>
<p><b>SEATTLE OPERA: Thank you, Ms. Graves. This has been a lovely chat. We are looking forward to your Seattle Opera debut in August. Have a nice Fourth of July.</b></p>
<p>Learn more about The Denyce Graves Foundation at <a href="https://www.thedenycegravesfoundation.org/">www.thedenycegravesfoundation.org</a>.</p>
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<p><b><i><a href="https://www.seattleopera.org/rheingold">Das Rheingold</a></i> runs August 12-20, 2023 at McCaw Hall.</b></p>Seattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.com0tag:blogger.com,1999:blog-5630356600537382212.post-61421007478443635612023-06-21T14:36:00.001-07:002023-06-22T06:19:23.062-07:00Seattle Opera General Director Christina Scheppelmann to depart Seattle for Brussels’ La Monnaie/De Munt in 2025<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;">
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</td></tr><tr><td class="tr-caption" style="text-align: center;">© Philip Newton<br /></td></tr></tbody></table>
<p>Seattle Opera announced today that <b>General Director Christina Scheppelmann</b> has accepted a position as <b>General Director of La Monnaie/De Munt</b> in Brussels, Belgium, which she will begin at the conclusion of her five-year contract with Seattle Opera.</p>
<p><a href="https://www.seattleopera.org/about/message-from-christina">Read Christina’s letter to the community</a>.</p>
<p>The fourth General Director of Seattle Opera, Scheppelmann will complete her tenure after Seattle Opera’s 2023/24 season. Under Scheppelmann’s leadership, the company produced a world premiere, launched cornerstone programs, expanded its community partnerships, and brought over 100 new artists to Seattle for company debuts, with nearly 50 coming from abroad.</p>
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<p>“Leading Seattle Opera is a tremendous opportunity,” said Scheppelmann, who came to Seattle from the Gran Teatre del Liceu in Barcelona. “The company boasts an incredible staff, orchestra, chorus, and crew, as well as a wonderful, supportive audience, all of whom I will miss greatly. I love this city and the opera community in this region, which has welcomed me wholeheartedly. I could not pass up the opportunity to lead one of the great European opera companies while also being closer to my family. But for now, there is much work to do and more opera to come in the year ahead, and I look forward to sharing what we have in store.”</p>
<p><b>La Monnaie/De Munt</b>, the National Opera of Belgium, produces eight mainstage operas each season with an annual budget of more than $60 million. The company, which includes a full-time orchestra and chorus, traces its roots back to the first public opera theater in Brussels in 1700, and has since become one of the most influential artistic institutions in Europe. Scheppelmann will succeed current General & Artistic Director <b>Peter de Caluwe</b>, who has held the position since 2007.</p>
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</td></tr><tr><td class="tr-caption" style="text-align: center;">Welcome Back Concert: <i>Die Walküre</i>, August 2021 © Philip Newton<br /></td></tr></tbody></table>
<p>“Seattle Opera has been fortunate to collaborate with a general director of Christina’s caliber, and thanks to her leadership, the company is well positioned to build on its successes,” said <b>Board President Lesley Chapin Wyckoff</b>. “That Christina has accepted an offer to head one of Europe’s most important opera companies is a testament to her abilities and her excellent work in Seattle, which has ensured a bright, promising future for Seattle Opera. We could not be more proud of what she has accomplished here and we wish her the best in this exciting new opportunity.”</p>
<p>Scheppelmann’s tenure in Seattle advanced Seattle Opera’s position as one of the country’s most vital opera companies. Although the COVID-19 pandemic began mere months after her arrival, Seattle Opera thrived under Scheppelmann’s leadership. The company was one of only a few opera houses in the US to deliver the entirety of its 2020/21 season during the pandemic shutdown, which it did by creating innovative film versions of its previously announced lineup. During that period, Seattle Opera offered four complete opera films, hired more than twenty artists to present free online recitals, and expanded its educational programming through online classes, libretto-writing workshops, youth programs, and the Path with Art Veteran’s Choir. Seattle Opera also hosted community blood drives at the Opera Center throughout the pandemic in partnership with Bloodworks Northwest.</p>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAupicmfwnqJ6ZbJk7tXnp0wKJAT7N-0qSUBooX2YmbVbVRDhmj4CIOWO9x1ICh5d2t3jJRJRDjYzuGK_TY0zu6Y7t9VmwU5Qy8x8hodMtt_yfMBIUNc9QD9I99GowfiA-cYRWbueZa2jtEMp6N9hvsOIEnYPJ0F5Z68wrFE3eLOYBqUuvTXuvoEY_pA/s1600/Blue_CS_sunny-martini.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="667" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAupicmfwnqJ6ZbJk7tXnp0wKJAT7N-0qSUBooX2YmbVbVRDhmj4CIOWO9x1ICh5d2t3jJRJRDjYzuGK_TY0zu6Y7t9VmwU5Qy8x8hodMtt_yfMBIUNc9QD9I99GowfiA-cYRWbueZa2jtEMp6N9hvsOIEnYPJ0F5Z68wrFE3eLOYBqUuvTXuvoEY_pA/s1600/Blue_CS_sunny-martini.jpg" width="640px"/></a>
</td></tr><tr><td class="tr-caption" style="text-align: center;">West-Coast Premiere of <i>Blue</i>, February 2022 © Sunny Martini<br /></td></tr></tbody></table>
<p>The company marked its return to live performance in August 2021 with its first outdoor concert, Richard Wagner’s <i>Die Walküre</i>. The event showcased international talent such as <b>Brandon Jovanovich</b>, <b>Angela Meade</b>, <b>Raymond Aceto</b>, <b>Eric Owens</b>, and <b>Alexandria LoBianco</b>. That performance inaugurated an impressive slate of over 100 Seattle Opera debuts, with nearly 50 international artists making their company debuts in the subsequent three seasons. Notable appearances have included Canadian conductor <b>Jordan de Souza</b> and the Argentinian creative team behind <i>Tristan and Isolde</i> in October 2022; Armenian soprano <b>Mané Galoyan</b>, South African soprano <b>Vuvu Mpofu</b>, and Korean tenor <b>Duke Kim</b> in 2023’s <i>La traviata</i>; Ukrainian mezzo-soprano <b>Olga Syniakova</b> and Russian conductor <b>Alevtina Ioffe</b> in 2022’s <i>The Marriage of Figaro</i>; Georgian soprano <b>Salome Jicia</b> in <i>The Elixir of Love</i> in August 2022; and American mezzo-soprano <b>J’Nai Bridges</b> and Korean tenor <b>Yonghoon Lee</b> in <i>Samson and Delilah in Concert</i> in January 2023.</p>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGI7wIEVWmvPMcVcwgla9mWaBfJGLLk9f7ZWMZWhnyBMdK8K6sCwryif0A9G0ej4uxX0Z4XCDrvKvYi5AWypvJBNeODqQifC3bcijqK5sqRXrRERrgbmEUq0DeWSwp8J_gQmVE-nqHrYTbtHtmONrGc_7OKEcYSwLS1K7_TGnqwPJRGDVkpqnKtkpOAQ/s1600/A-Thousand-Splendid-Suns_CS_sunny-martini.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="667" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGI7wIEVWmvPMcVcwgla9mWaBfJGLLk9f7ZWMZWhnyBMdK8K6sCwryif0A9G0ej4uxX0Z4XCDrvKvYi5AWypvJBNeODqQifC3bcijqK5sqRXrRERrgbmEUq0DeWSwp8J_gQmVE-nqHrYTbtHtmONrGc_7OKEcYSwLS1K7_TGnqwPJRGDVkpqnKtkpOAQ/s1600/A-Thousand-Splendid-Suns_CS_sunny-martini.jpg" width="640px"/></a>
</td></tr><tr><td class="tr-caption" style="text-align: center;">World Premiere of <i>A Thousand Splendid Suns</i>, February 2023 © Sunny Martini<br /></td></tr></tbody></table>
<p>Of all the debuts made during Schepplemann’s tenure, perhaps none was as significant as that of award-winning Afghan film director <b>Roya Sadat</b>, stage director for the world premiere of <b><i>A Thousand Splendid Suns</i></b>, based on the novel by <b>Khaled Hosseini</b>. A resounding success, <i>Suns</i> was lauded for bringing “lyrical, beautiful music to a poignant tale on the McCaw Hall stage” (<i>The Seattle Times</i>). The production brought in more single-ticket buyers than any other contemporary opera in the company’s history.</p>
<p>Seattle Opera has embraced contemporary opera during Scheppelmann’s tenure, with offerings ranging from intimate chamber operas like Jerre Dye’s <b><i>The Falling and the Rising</i></b> and Huang Ruo’s <b><i>Bound</i></b> to the 2022 West-Coast premiere of Jeanine Tesori and Tazewell Thompson’s <b><i>Blue</i></b>. The latter’s “engrossing, challenging, and beautiful” (<i>NWTheatre</i>) tale of contemporary African American life captured the attention of the broader arts community in the Pacific Northwest.</p>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhttO08jvA2xp8j63P3_InFQMs8DnZaklpbVKy6dx-7jV51Xm_usYj2IFlsisPonyLBO2l0uHSGmk4GqSczXas7bpvjq2vdspmxCoCPjMC1ZqgLT3Aa021OgUxiGENg-nVvxYaG40q3qLOHsn6tfqffxFCdlge0RkjS1Ooql6ekmwM-DpEWhA5FkO_WaQ/s1600/2023-seattle-arts-fellows_CS_david-jaewon-oh.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="667" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhttO08jvA2xp8j63P3_InFQMs8DnZaklpbVKy6dx-7jV51Xm_usYj2IFlsisPonyLBO2l0uHSGmk4GqSczXas7bpvjq2vdspmxCoCPjMC1ZqgLT3Aa021OgUxiGENg-nVvxYaG40q3qLOHsn6tfqffxFCdlge0RkjS1Ooql6ekmwM-DpEWhA5FkO_WaQ/s1600/2023-seattle-arts-fellows_CS_david-jaewon-oh.jpg" width="640px"/></a>
</td></tr><tr><td class="tr-caption" style="text-align: center;">2022/23 Seattle Arts Fellows © David Jaewon Oh<br /></td></tr></tbody></table>
<p>Scheppelmann’s commitment to community engagement has strengthened the company’s belief that opera is for everyone. In October 2020, Seattle Opera launched its <a href="https://www.seattleopera.org/globalassets/downloads/racial-equity-plan.pdf"><b>Racial Equity and Social Impact plan</b></a>, which aims to integrate anti-racism holistically into all aspects of Seattle Opera’s work. As a result of those efforts, Seattle Opera staff now comprises 46% BIPOC individuals and significant strides have been made in casting diversity. New additions to the company’s lineup of community programs, such as the <a href="https://www.seattleopera.org/creationlab"><b>Jane Lang Davis Creation Lab</b></a> and the <a href="https://www.seattleopera.org/fellowship"><b>Seattle Arts Fellowship</b></a>, have focused on fostering new voices in opera.</p>
<p>Seattle Opera has continued to prioritize meaningful community partnerships through the isolating period of the pandemic and beyond. Partnering with more than 60 organizations and 45 public schools, the company strives to develop relationships that benefit our partners and the people they serve, while also expanding the art form’s reach and accessibility in the region. Partnerships have driven new initiatives, including supply drives, free outdoor performances, and the company’s first mainstage relaxed performance at <i>La traviata</i> in May 2023. The company welcomed over 2,000 people into the Opera Center for free public events during the 2022/23 season, with countless others attending school tours, outdoor performances, and opera classes.</p>
<p>Seattle Opera’s Board of Trustees is committed to continuing to produce the highest-quality artistic experiences and programming with artists from around the world. The board invites the community to celebrate the achievements of Scheppelmann’s tenure and looks forward to new artistic and programming opportunities that will grow opera audiences for the future.</p>Seattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.com0tag:blogger.com,1999:blog-5630356600537382212.post-20204139305090064992023-06-13T10:37:00.001-07:002023-06-13T10:37:59.327-07:00Creation Lab 2023: Final Projects<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlb84OjXgig2aQSDwY_Vt9UryAwjM16t3BzMPXQcfpvpUDrJWFJVFFOBD35Xw_mxYdBC8IUgtDwH4QE6qWHPL06jR0vFKziUJBYxX9rNL9ugP7_UzH-7QR0tSYmxilEFCOuqeZbRIgXq-PpLTf-_4kEWBa2-QiOes1MUQVMkJlpw8BaoicjUH-ytI/s1600/2023-06_creation-lab-rehearsal-1.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="1000" data-original-width="1500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlb84OjXgig2aQSDwY_Vt9UryAwjM16t3BzMPXQcfpvpUDrJWFJVFFOBD35Xw_mxYdBC8IUgtDwH4QE6qWHPL06jR0vFKziUJBYxX9rNL9ugP7_UzH-7QR0tSYmxilEFCOuqeZbRIgXq-PpLTf-_4kEWBa2-QiOes1MUQVMkJlpw8BaoicjUH-ytI/s1600/2023-06_creation-lab-rehearsal-1.jpg" width="640"/></a>
</td></tr><tr><td class="tr-caption" style="text-align: center;">Creation Lab rehearsal © David Jaewon Oh<br /></td></tr></tbody></table>
<p><i>Hello World</i> is set in the not too-distant future. Fives, a broken-down service robot, and Vista, a sophisticated android, find refuge in a dark basement. While taking shelter from an indifferent world that sees them as disposable machines, the artificial lifeforms consider sacrificing everything in a desperate bid for freedom. <i>Hello World</i> is one of six short operas recently showcased at the 2023 Jane Lang Davis Creation Lab Performances in the Opera Center.</p>
<p>Launched two years ago, Creation Lab cultivates the next generation of opera storytellers, focusing on Washington State composers and librettists ages 18-30 through a months-long development process that includes table readings, music workshops, and mentoring and coaching from established opera professionals, like librettist Kelley Rourke and composer Damien Geter.</p>
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<p>“Creation Lab was an opportunity for me to redirect my music career,” explained Kassey Castro, a former K-12 music educator who has also conducted community ensembles throughout the region. Working with librettist Hannah Schoettmer, Castro tapped into his love of video games to guide the score for <i>Hello World</i>. “I’m really inspired by the music of Nobuo Uematsu, who wrote the music for the “Final Fantasy” game series. That sound influenced some of the music I wrote for this opera.”</p>
<p>Other works created this year are <i>Shaat kot draa blod</i>, a story based on a Jamaican tale of the Cat Woman; <i>Chop Chop!</i> a story about a mother and her two children preparing dinner for her husband’s boss; and <i>Everything After</i>, which follows Roe, a thirty something Seattleite wondering what they want to be when they grow up.</p>
<p>“This year's creators worked tremendously hard to bring some amazing stories to Seattle Opera,” said Dennis Robinson, Jr, Seattle Opera’s Director of Programs and Partnerships. “Stories that make you cry, stories that make you laugh, you may even enjoy a fright or two! This impressive and diverse group of musicians and wordsmiths continue to wow me as they begin their journeys in the world of creating opera.”</p>
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</td></tr><tr><td class="tr-caption" style="text-align: center;">Creation Lab rehearsal © David Jaewon Oh<br /></td></tr></tbody></table>
<p>The collaborative nature of Creation Lab—the chance to work with a partner from start to finish—was an important aspect for many of this year’s participants. “I often work solo,” said <i>Chop Chop!</i> composer Grace Oberhofer. “But I find that I need to have somebody else in the room to really understand a piece. So, I was excited about meeting other collaborators from the Pacific Northwest.” To produce this new piece, Oberhofer partnered with librettist Hannah Nikka Odsinada, a two-time participant of Creation Lab.</p>
<p>What’s more, the artists benefited from the experiences of industry professionals. “Our mentor helped push the storyline through,” said librettist and poet Elizabeth Howell, whose opera, <i>Everything After</i>, was created with composer Spencer Edgers. “He [librettist Jerre Dye] saw holes in our story and was very helpful making it complete.”</p>
<p>For Castro, Creation Lab launched a different phase of his musical journey. “When I left teaching, my family and friends thought my life as a musician was over. But it was just the beginning. I’m excited that I had the chance to restart it with this program,” he said.</p>
<p>In 2020, a $1 million gift established the Jane Lang Davis Creation Fund, an endowed fund to support the initiative’s annual programming. Creation Lab is named in honor of Jane Lang Davis, a member of Seattle Opera’s Board of Directors for nine years and a longtime member of the Seattle Opera Advisory Board. A subscriber for more than 50 years, she introduced many of her close friends and family to opera.</p>Seattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.com0tag:blogger.com,1999:blog-5630356600537382212.post-39205716929291105852023-06-08T09:56:00.005-07:002023-06-08T10:03:26.511-07:00New Podcast: Vanessa Vo & the Vietnamese Instruments of Bound<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP-pSZXmbmT-mzPV3DW5wIHhdpCc5mYzCQ3J_xK-OAgzSEB6sVsxNOvGXo-gBdffKa3UEIxE7xH6Wj56266Xn6NpMkKOdjw48IX8rsls1zTX9yiKzkA3Sc5E4RNCqSyKydorQYv1GlaNi0QjKuLoGfngOwcc6LIjkTWi1miR04xVYBRcO_1VQPPzY/s1600/Vanessa-Vo-podcast-2_Bound.jpg" style="display: block; text-align: center; "><img alt="" border="0" data-original-height="1000" data-original-width="1500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP-pSZXmbmT-mzPV3DW5wIHhdpCc5mYzCQ3J_xK-OAgzSEB6sVsxNOvGXo-gBdffKa3UEIxE7xH6Wj56266Xn6NpMkKOdjw48IX8rsls1zTX9yiKzkA3Sc5E4RNCqSyKydorQYv1GlaNi0QjKuLoGfngOwcc6LIjkTWi1miR04xVYBRcO_1VQPPzY/s1600/Vanessa-Vo-podcast-2_Bound.jpg" width="640"/></a>
</td></tr><tr><td class="tr-caption" style="text-align: center;">© Sunny Martini<br /></td></tr></tbody></table>
<p>In June, Seattle Opera presents <i><a href="https://www.seattleopera.org/bound">Bound</a></i>, a one-act chamber opera (music by Huang Ruo, libretto by Bao-Long Chu). This opera features Vanessa Vo playing đàn bầu (monochord) and đàn tranh (Vietnamese zither). In this podcast, Vo demonstrates and discusses these instruments with Dramaturg Jonathan Dean.</p>
<p><iframe width="100%" height="166" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1531706398&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true"></iframe></p>
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<p>"Through music I have learned about the differences [between] cultures [in] the most beautiful and meaningful way. So, having the Vietnamese traditional instruments in this opera, and having Seattle Opera present this...the refugee and immigrant communities [and I], we really appreciate it. [W]e can learn about the differences of other people, and once we understand the differences we can learn how to live with each other [and be] so much nicer, supportive.”</p>
<p style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='640' height='532' src='https://www.blogger.com/video.g?token=AD6v5dxxh7xXsBpyvkhER_2Haxsl-hOgYFx4M0aSLkRQ4XzqGHKzMmwnqrn_N0hY6Ok7MwFcvlOmdEtdiq2QURBNmQ' class='b-hbp-video b-uploaded' frameborder='0'></iframe></p>
<p>Plus, as a bonus: Vo’s performance, on the đàn bầu of “Summertime” from Gershwin’s <i>Porgy and Bess</i>, arranged by Nguyen Le, with Frank Martin at the piano. This performance was chosen as one of NPR’s <a href="https://www.npr.org/sections/deceptivecadence/2015/08/11/429653092/summertime-in-hanoi">Songs We Love</a> in 2015.</p>
<p><br/><b>Listen to the full episode, <a href="https://www.seattleopera.org/inside-look/podcasts/">"Vanessa Vo and the Vietnamese instruments of <i>Bound</i>"</a> wherever you listen to podcasts (You can also search for "Seattle Opera"). Learn more about the featured speaker <a href="https://www.vananhvo.com/">Vanessa Vo</a> on her personal website.</b></p>
<p><b><i>Bound</i> opens June 9, 2023, at Tagney Jones Hall at the Opera Center. Tickets and info at <a href="https://www.seattleopera.org/bound">seattleopera.org/bound</a>.</b><br/> </p>Seattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.com0tag:blogger.com,1999:blog-5630356600537382212.post-37812557371219341042023-05-25T16:53:00.001-07:002023-05-25T16:53:09.741-07:00Composer Huang Ruo and librettist Bao-Long Chu on Bound<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifi0QC9PJZQ6DEF4UlhTP3eYBAfGdgbPFqUw61MM32dRwSRswoITAdtvNJxfuc23KAtFjMKu-CpJAXQ8BBWZs1UAyp77XrujM15qkgWyc9U5LSY3rvXjqCWnX5WL3KYb30UuC4ygQ5ptBmog-7D7lZZIHMLrbXUYtMYgoHSEYRC5DU25euZstJi6Y/s1280/HuangChu_Headshots.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifi0QC9PJZQ6DEF4UlhTP3eYBAfGdgbPFqUw61MM32dRwSRswoITAdtvNJxfuc23KAtFjMKu-CpJAXQ8BBWZs1UAyp77XrujM15qkgWyc9U5LSY3rvXjqCWnX5WL3KYb30UuC4ygQ5ptBmog-7D7lZZIHMLrbXUYtMYgoHSEYRC5DU25euZstJi6Y/w640-h360/HuangChu_Headshots.jpg" width="640" /></a><br /> <i><b>Composer Huang Ruo and librettist Bao-Long Chu’s opera </b></i><b><a href="https://www.seattleopera.org/bound">Bound</a></b><i><b> premiered at Houston Grand Opera in 2014. </b></i><b>Bound </b><i><b>will have its West Coast premiere at Seattle Opera June 9–18, with Huang Ruo conducting. The composer-librettist team recently spoke with Seattle Opera to discuss the inspiration for their riveting new work.<br /></b><span></span></i></p><a name='more'></a><b>Seattle Opera</b><br /><i>Bound </i>is based on a true story that occurred in Houston, Texas, in 2012. What drew you to this story and made you want to turn it into an opera? <br /><br /> <b>Huang Ruo<br /></b>I got the commission for this opera from Houston Grand Opera back in 2013, for their Song of Houston initiative, and I found this Houston-based story about Diane Tran. I was drawn to Diane’s story at the time because I am very interested in Asian American stories—not only because of my own cultural background, but also because of the experiences of young Asian Americans. Many second-generation Asian Americans feel an uncomfortable relationship with their cultural heritage. They were born and raised in America, English is their first language, American culture is their culture—and yet, do they feel like they belong completely? <br /><br /> <i>Bound </i>explores how these young people are often pulled between competing duties: to their schoolwork, to provide for their families, and to the harsh realities of life. I wanted to use this opera to explore those contradictions.<br /><br /> <b>Bao-Long Chu</b><br />I’m a Vietnamese refugee myself—my family came over in 1975—and although we had a different experience than Diane’s family, I feel a sense of connection to any story about Vietnamese Americans living with loss. When Huang approached me about creating this piece about the Vietnamese American experience, I initially thought I wanted to write about my mother. My parents were born in North Vietnam and lost everything when the country divided in 1952. After moving south to rebuild their lives, they lost everything once again in 1975, when they came to America. I wanted to tell that story of loss and grief, and how those feelings can turn into guilt. But I needed a frame to make it translate to an audience. <br /><br /> It was by luck that I stumbled on Diane’s story, which provided precisely the framing I needed. Diane was living with a generational trauma that a lot of Vietnamese refugees live with. There is a loss that I think every Vietnamese refugee carries with them daily. And I think America sometimes forgets that the idea of crossing bodies of water to reach new shores is, in many ways, ingrained the American way of life. So it just made sense for me to write this story in a way that not only reflects my particular Vietnamese American experience, but also resonates with all of us as human beings. <p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKJaO_UQlOvLQ5BFTSaM9DcEnAFN6AukuQKyg0FA05y-EefhdVh91tYMtZ4W828pC3k9s1CwSBJ0ynvMXy8pGuYXWzcaULRSaPFqgrjIXtpivUplHesCxq3Cj6fEN-i9UIEZ8w1i41h6f7eeCnOIfgDINIoAQWCMLqKOm5hSxeJz_LHJgJFpcleM8/s2300/ratio3x2_2300.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1533" data-original-width="2300" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKJaO_UQlOvLQ5BFTSaM9DcEnAFN6AukuQKyg0FA05y-EefhdVh91tYMtZ4W828pC3k9s1CwSBJ0ynvMXy8pGuYXWzcaULRSaPFqgrjIXtpivUplHesCxq3Cj6fEN-i9UIEZ8w1i41h6f7eeCnOIfgDINIoAQWCMLqKOm5hSxeJz_LHJgJFpcleM8/w640-h426/ratio3x2_2300.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Nina
Yoshida Nelsen as Khanh and Lei Xu as Diane in <i>Bound </i>at Houston Grand Opera in 2014. © Mayra Beltran / <i>Houston Chronicle</i> </td></tr></tbody></table><p><b>Seattle Opera</b><br />Did you interpolate some of your own mother’s experiences into the character of the mother in the opera? <br /><br /> <b>Bao-Long Chu</b><br />Oh, 100%. The news story about Diane was very brief. We know what happened with her night in jail, but we don't know the prologue, so to speak—or what happened afterwards. So I had the luxury of taking that frame and filling out the details. The character of the mother in the opera is fictional, but she helps us explore more deeply the relationship between mother and daughter. It was important to the story to have that perspective. <br /><br /> <b>Seattle Opera</b><br />The title of the piece reflects the situation that the main character, Diane Tran, finds herself in—she’s “bound” to conflicting obligations. Can you tell me what it means to you to be “bound” to something? <br /><br /> <b>Bao-Long Chu<br /></b><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
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Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
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<![endif]--><span face=""Calibri",sans-serif" style="font-size: 11pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">”</span> I’m sure this is not a unique experience. So many young people grow up not knowing what's going on with their parents, thinking everything is fine until one day the bottom falls out. Each character in the opera has their own struggle, their own dilemmas and motivations. When you juxtapose these characters, it becomes a vivid reflection of American society. I want audiences to be able to see themselves in their stories and maybe even understand their own dilemmas a little better. <br /><br /> <b>Seattle Opera</b><br />How has your perspective on this story changed since you wrote the piece in 2014? <br /><br /> <b>Huang Ruo<br /></b>I think the struggle for Asian American rights, instead of getting better, is just more front and center. The same year I created <i>Bound</i>, I also created another opera focused on second-generation Asian Americans called <a href="https://www.nytimes.com/2018/06/13/arts/music/review-american-soldier-regina-opera-st-louis.html"><i>An American Soldier</i></a>. Both operas premiered in 2014, which, if you’ll remember, was a time when we were still talking about “hope and change.” Racism and discrimination towards Asians and Asian Americans was either not known, not talked about, or simply ignored. But that discrimination has been there for a long, long time—since at least the <a href="https://www.archives.gov/milestone-documents/chinese-exclusion-act">Chinese Exclusion Act</a> in the late 1800s. <br /><br /> Now, with the COVID-19 pandemic, with politicians making false statements scapegoating Asians and Asian Americans, anti-Asian sentiment is even more pervasive. So, unfortunately, it's not something I see that’s getting better. But one hopeful thing I see is that now we can more openly discuss these issues and there are more people willing to listen and willing to pay attention. That, at least, is progress. <br /><br /> <b>Bound </b><i><b>runs at Seattle Opera June 9–18, 2023. Tickets and info at <a href="https://www.seattleopera.org/bound">seattleopera.org/bound</a>. </b><br /></i><br /> <b>About Huang Ruo<br /></b>Huang Ruo has been lauded by <i>The New Yorker</i> as “one of the world’s leading young composers” and by <i>The New York Times</i> for having “a distinctive style.” His vibrant and inventive musical voice draws equal inspiration from Chinese ancient and folk music, Western avant-garde, experimental, noise, natural and processed sound, rock, and jazz. As a member of the new generation of Chinese composers, his goal is not just to mix both Western and Eastern elements, but also to create a seamless, organic integration. Huang Ruo’s diverse compositional works span from orchestra, chamber music, opera, theater, and dance, to cross-genre, sound installation, multi-media, experimental improvisation, folk rock, and film. <br /><br /> <b>About Bao-Long Chu</b><br />Chu is a storyteller. Originally from Vietnam, his passion for writing led him to the MFA creative writing program at University of Houston. He has written and presented extensively on writing pedagogy, the connection between art and the refugee experience, and nonprofit programming. Currently, Chu is the Program Director of Arts and Parks at Houston Endowment where he oversees the grants strategy to support and grow Houston’s arts, culture, and parks ecosystem. He collaborates with artists and community leaders toward a shared vision of a vibrant city with abundant opportunities to create and connect. The power of art to share and connect human stories inspires his work. Chu’s poems and essays have been published in several anthologies, including <i>The New Anthology of American Poetry: Postmodernisms 1950–Present</i> and <i>From Both Sides Now: The Poetry of the Vietnam War and Its Aftermath</i>. His libretto for the opera <i>Bound</i>, composed by Huang Ruo, premiered in Houston in 2014 and in New York in 2019.<br /></p>Seattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.com0tag:blogger.com,1999:blog-5630356600537382212.post-38619816268107697642023-05-15T12:56:00.024-07:002023-05-16T09:31:08.533-07:00Looking at La traviata through a sex-positive lens<p></p><p><b><i>Briq House, Moonyeka and Gabrielle Nomura Gainor discuss Verdi’s famous heroine and new narratives for sex work, pleasure, and liberation in 2023.</i></b></p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizYkGvfEifapacrdbPL0-MMBSOvwIVfkwHI-aVxaddSLJF-GwAsUJj-sMOphTCZR5HeVhvnMYXokA4qgo9ZC0yl88GJdboVfg6k7sHlxZVUey0TiAOZ51RBNqTfpmc39sRUJFuzfBZuBdiLUdcye3ioSXcInlEyP4l2px5gkYITV__qZAREqfV7tI/s1600/blog_headshots_mooyeka-gabrielle-nomura-gainor-briq-house.jpg" style="display: block; text-align: center;"><img alt="" border="0" data-original-height="540" data-original-width="936" height="369" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizYkGvfEifapacrdbPL0-MMBSOvwIVfkwHI-aVxaddSLJF-GwAsUJj-sMOphTCZR5HeVhvnMYXokA4qgo9ZC0yl88GJdboVfg6k7sHlxZVUey0TiAOZ51RBNqTfpmc39sRUJFuzfBZuBdiLUdcye3ioSXcInlEyP4l2px5gkYITV__qZAREqfV7tI/w640-h369/blog_headshots_mooyeka-gabrielle-nomura-gainor-briq-house.jpg" width="640" /></a>
</td></tr><tr><td class="tr-caption" style="text-align: center;">Moonyeka, Gabrielle Nomura Gainor and Briq House.<br /></td></tr></tbody></table>
<p>The first year that <i>La traviata</i> played to audiences in 1853, Verdi was able to pull off a great feat. The Italian composer had manipulated a mid-nineteenth century European audience into sympathizing with Violetta—a woman who, despite being a member of high society, was a sex worker—a person who made a living through transactional relationships with wealthy men. <i>La traviata</i> means “the fallen woman,” or, more literally, "the woman who has been led astray." <br /></p>
<p>Now, 170 years later—the oppressive structures governing women and femmes are still in play. What’s different are the new and more varied narratives surrounding sex workers, pleasure seekers, and women who strive to be “sempre libera” (always free) like Violetta.</p>
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<p>For Briq House and Moonyeka, sex is not simply about personal joy (though it <i>is</i> definitely about that). Human sexuality is a vehicle for healing, community-building, artistic expression, and more. In May 2023, the two artists and community leaders sat down with Gabrielle Nomura Gainor to record a new episode for the Seattle Opera Podcast. The discussion centered on the "fallen woman" archetype in Verdi's opera, the joy and challenges surrounding sex work—and other politics of pleasure for women and femmes–particularly QTBIPOC (Queer, Trans, Black, Indigenous People of Color). <a href="https://www.seattleopera.org/podcasts/">Listen to the podcast</a> or find it on your favorite podcast distributor.</p>
<p>Briq House is a proud Black woman—in addition to a professional Dominant, Intuitive and Burlesque Goddess. Moonyeka is a nonbinary Filipinx shapeshifter and interdisciplinary artist; their sensual offerings span stages and queer clubs.</p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi83U2IFZHuFVuOfZvzxuuFHagJP3luV1OVdgPfepWDg9je7onQ8Kkhhis8aZ1s2nXGuuc2ryf2gD_YQtTSx9VOZoGM45BGGNqXpwBFxl1WYL0RkEPLmuRDF4VN9rHkj5B2B-GlcOBOGlH2ce6FYZ_iiZSHZdMUPlDkchz8zYA-CuiUddp06_fcZAzNOQ/s4050/cover.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4050" data-original-width="2925" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi83U2IFZHuFVuOfZvzxuuFHagJP3luV1OVdgPfepWDg9je7onQ8Kkhhis8aZ1s2nXGuuc2ryf2gD_YQtTSx9VOZoGM45BGGNqXpwBFxl1WYL0RkEPLmuRDF4VN9rHkj5B2B-GlcOBOGlH2ce6FYZ_iiZSHZdMUPlDkchz8zYA-CuiUddp06_fcZAzNOQ/w462-h640/cover.jpg" width="462" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Briq House on the cover of <i>The Stranger.<br /></i></td></tr></tbody></table>
<p>Episode host Gabrielle is an Asian American activist, dance artist, and storyteller who was previously on the Seattle Opera staff for eight years.</p>
<p>For people who might be familiar with opera but less familiar with the topic of sex work, this episode is an invitation to deepen one’s understanding and challenge one’s preexisting assumptions. The conversation touched on collective care for sex workers—including the need for affordable housing, as well as destigmatizing sex work, so that sex workers are better able to handle their money, access health care, and move through the world without fear for their safety or being denied basic services.</p>
<p>Sex workers need to be seen as full human beings. Thus, Moonyeka and Briq pushed back on Verdi’s narrative among others. Why are sex workers so frequently portrayed as downtrodden individuals who suffer? Why can’t they ever be seen as complex human beings who live in abundance of community, love, and safety?</p>
<p>To contrast Violetta’s story, Briq House and Moonyeka are also scholars, activists, leaders, healers, teachers, and more. They create performance offerings that revolve around joy. Briq produces the Shuga Shaq, the longest running and only all-People of Color review in the Pacific Northwest. And Moonyeka just finished a multimedia performance, a “queer-ing” of Filipino mythology—at Base in Georgetown.</p><h4>A space for healing</h4><p>Sex work is not the same thing as involuntary sex work. Involuntary sex work can take many forms, but the commonality with all of these situations is that someone is being exploited—either by being forced into sex work—or because of challenges related to substance use disorder, homelessness, behavioral health, or human trafficking. When a person willingly takes part in the sale of sexual services (which could also include stripping or bikini barista stands), this is called sex work.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA42zy754qRUg6Ni2zONU_4XzRxKxWXr3WRzw372lh8eJmMHWsZmNtmADWiqo65CyCbHFXx-NnqtDifkTTaQPvCJoms1X6MczxL9U4K4tWtPuQTtfJkXdzRmYvwEhXbpqMIvoMwzHfx3Iy0u9UxaZFrrOJhChP_RMn6JftAiicRl9cALAA2II9TK8nQg/s3479/Photo%20May%2007%202023,%202%2007%2050%20AM.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2609" data-original-width="3479" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA42zy754qRUg6Ni2zONU_4XzRxKxWXr3WRzw372lh8eJmMHWsZmNtmADWiqo65CyCbHFXx-NnqtDifkTTaQPvCJoms1X6MczxL9U4K4tWtPuQTtfJkXdzRmYvwEhXbpqMIvoMwzHfx3Iy0u9UxaZFrrOJhChP_RMn6JftAiicRl9cALAA2II9TK8nQg/w640-h480/Photo%20May%2007%202023,%202%2007%2050%20AM.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Moonyeka performs as part of their residency at Base: Experimental Arts + Space in Georgetown. V and the @HouseOfKilig<br /></td></tr></tbody></table>
<p>To assume that all sex workers are damaged or traumatized is not only overly simplistic but contributes to stigma that harms sex workers. The ACLU has in fact supported the decriminalization of sex work for almost 50 years. <br /><br />For Briq House, “trauma and harm” couldn’t be further from her truth.
<p>“One thing I am most passionate about is working with healers of sexual abuse and trauma,” Briq House said. “I work with people who are trying to engage differently in their intimacy, first with themselves, and then with their partners that they're with. I also really love doing sexual healing work with couples, triads, polyamorous folks, monogamous folks. Fostering new ways of intimacy between folks is such special and sweet work.”</p>
<p>Moonyeka has also found both excitement and peace in their more erotic artistry. When Moonyeka was a child, they were called a hedonist—which simply means a person who moves toward pleasure. But ultimately it felt like slut-shaming, like a glib dismissal.</p>
<p>“Actually, pleasure is really hard,” Moonyeka said. “Pleasure is a commitment. And I think, for both me and my trans siblings, feeling good in our bodies is a very dissonant process sometimes. Even in our most joyous moments, the joy is not without suffering—these moments illuminate how unaligned we have felt in our own bodies.”</p><p>Because it's hard work, Moonyeka believes in prioritizing pleasure—after all, it's our birthright as humans, not something that needs to be hidden away behind closed doors. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHroHsHIEauI-7-R5pbY-nlArj1iyia3xjngj7UJ9fnFaeiGshpkV4l4DJz-2DdM7vUbCUWychJP1zdLcyWNGy_OiDjLiHhKksdOy-_2ww0m7R9m18ZKx3JiKR8WhQUUsjrR_Mn1mkvKZ9GgrGK07OQxgycGWtzZoZ77Rt-OeX-jwDsFfkyNimAMA/s1600/blog_traviata_dominick-chenes-vuvu-mpofu.jpg" style="display: block;"><img alt="" border="0" data-original-height="624" data-original-width="936" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHroHsHIEauI-7-R5pbY-nlArj1iyia3xjngj7UJ9fnFaeiGshpkV4l4DJz-2DdM7vUbCUWychJP1zdLcyWNGy_OiDjLiHhKksdOy-_2ww0m7R9m18ZKx3JiKR8WhQUUsjrR_Mn1mkvKZ9GgrGK07OQxgycGWtzZoZ77Rt-OeX-jwDsFfkyNimAMA/s1600/blog_traviata_dominick-chenes-vuvu-mpofu.jpg" width="600" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Dominick Chenes (Alfredo) and Vuvu Mpofu (Violetta) in Seattle Opera’s <i>La traviata</i>. Photo by Sunny Martini<br /></td></tr></tbody></table>
<h4>New narratives for Violetta</h4>
<p>During the podcast conversation, at one point, Gainor invited Moonyeka and Briq House to share how they might rewrite <i>La traviata</i>. First Briq suggested a narrative where Violetta exists in a polyamorous collective; people acknowledge how hard-working Violetta is. In this scenario, Violetta might say: “You know what? It’s really expensive to be this fine. And so if that requires two or three or four incomes, from various humans then—that's what it takes.”</p>
<p>Then Moonyeka added a new layer: Violetta ultimately writes a letter to her boyfriend, but rather than breaking up with him as was suggested, she writes: “Hey, your dad is trippin.’ Do you want to get in on this scheme with me?” After that, the lovers ditch Alfredo’s judgemental family and radical love prevails.</p>
<p>To close out, Gabrielle shared that some moments in <i>La traviata</i> help her feel incredibly connected to herself. Those lines between Violetta and Alfredo—“torment and delight”—allow Gabrielle to access certain memories, and feelings in her body—what it’s like to be completely infatuated or in love—all from a seat in McCaw Hall.</p>
<p>It’s ironic that opera is a space where women and femme’s sexuality is so fraught sometimes, Gainor said.</p>
<p>“As the very sensual art of opera often shows—sex and pleasure are incredibly important, normal—and exciting—elements of the human experience. In many ways, I see Violetta, a courtesan—a sex worker—as being strong and ahead of her time.”</p>
<p><b>Listen to the full episode <a href="https://seattleopera.libsyn.com/looking-at-la-traviata-through-a-sex-positive-lens">“Looking at LA TRAVIATA through a Sex Positive Lens”</a> wherever you listen to podcasts (You can also search for "Seattle Opera"). Learn more about the featured speakers <a href="https://www.msbriqhouse.com/about">Briq House</a>, <a href="https://www.patreon.com/moonyeka">Moonyeka</a> and <a href="https://www.gabriellekazuko.com/">Gabrielle Nomura Gainor</a> on their personal websites. </b></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMsoc1BrsmdTpr0x6X9R484ft_X1H9vqbkWLQtRMhho4UzF4uIDBohjoxwJ4DGi5h9liwz9j1TqlgiZkxQ_Ax_m610R5hHhnQ0iOUIGL5PEwFUzajiTs_Ne3AJYikoA6prlPT98t27yl22solxhapuD3BFWcEU4Cwk2NGFdAaSiLXTwAAuaSJT9MI/s1600/blog_podcast-recording.jpg" style="display: block; text-align: center;"><img alt="" border="0" data-original-height="394" data-original-width="936" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMsoc1BrsmdTpr0x6X9R484ft_X1H9vqbkWLQtRMhho4UzF4uIDBohjoxwJ4DGi5h9liwz9j1TqlgiZkxQ_Ax_m610R5hHhnQ0iOUIGL5PEwFUzajiTs_Ne3AJYikoA6prlPT98t27yl22solxhapuD3BFWcEU4Cwk2NGFdAaSiLXTwAAuaSJT9MI/w640-h270/blog_podcast-recording.jpg" width="640" /></a>
</td></tr><tr><td class="tr-caption" style="text-align: center;">Moonyeka, Gabrielle, and Briq House recording for the Seattle Opera podcast.<br /></td></tr></tbody></table>
<h4>Advocacy Resources for Sex Workers in Washington State:</h4>
<ul><li><a href="https://www.strippersareworkers.org">Strippers Are Workers</a></li>
<li><a href="https://www.greenlightprojectseattle.org">Green Light Project Seattle</a></li>
<li><a href="https://www.aclu.org/news/lgbtq-rights/sex-work-is-real-work-and-its-time-to-treat-it-that-way">“Sex Work is Real Work, and it's Time to Treat it That Way” (ACLU)</a></li><li><a href="https://southseattleemerald.com/2021/10/16/opinion-washingtonians-struggle-to-acknowledge-sex-worker-agency-and-labor-issues/">OPINION: Washingtonians Struggle to Acknowledge Sex Worker Agency and Labor Issues | South Seattle Emerald</a></li></ul>
<p> </p>
<p><a href="https://www.seattleopera.org/podcasts/">Listen to the podcast</a> or find it on your favorite podcast distributor.</p>
<p> </p>Seattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.com0tag:blogger.com,1999:blog-5630356600537382212.post-66216289819342437912023-04-28T16:36:00.004-07:002023-05-01T14:26:50.303-07:00A Conversation with Naomi André<h1 style="text-align: left;">Seattle Opera Scholar in Residence</h1><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM-U-uDezeaDbnYqegybPFDxxaVHQIN0xvbahJDOh5cVwYsqYbxx0t8VbBXWkOcl1lGmvlUZO1HH9zpx7NE4o07OUPNVltvah5C1DsXTBJzuRKEE859WRbJ03kUuL1122LtJQu8tEiZIKkhsAQ5plGMkEAxHbY8uqpDsNtbEF8vS8BF5s8CMgPo-M/s4000/20200213_seattleopera_communityconversations-blackrepresentationinthearts_sunnymartini_47906.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2667" data-original-width="4000" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM-U-uDezeaDbnYqegybPFDxxaVHQIN0xvbahJDOh5cVwYsqYbxx0t8VbBXWkOcl1lGmvlUZO1HH9zpx7NE4o07OUPNVltvah5C1DsXTBJzuRKEE859WRbJ03kUuL1122LtJQu8tEiZIKkhsAQ5plGMkEAxHbY8uqpDsNtbEF8vS8BF5s8CMgPo-M/w640-h426/20200213_seattleopera_communityconversations-blackrepresentationinthearts_sunnymartini_47906.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Dr. Naomi André at the 2019 Community Conversation “<a href="https://www.seattleopera.org/classes-camps-clubs/for-adults/community-conversations/black-representation-in-the-arts/">Black Representation in the Arts</a>.” © Sunny Martini.</td></tr></tbody></table><p><b>Seattle Opera <a href="https://www.seattleoperablog.com/2019/07/seattle-opera-appoints-professor-naomi.html">appointed its first Scholar in Residence</a>, musicologist Naomi André, back in 2019. In that role, Professor André has written <a href="https://www.seattleoperablog.com/2022/02/black-opera.html">program essays</a>, given <a href="https://www.seattleopera.org/classes-camps-clubs/for-adults/opera-talks/">Opera Talks</a>, and appeared on panels in our <a href="https://www.seattleopera.org/classes-camps-clubs/for-adults/community-conversations/">Community Conversations</a> series. Next week, in conjunction with the opening of <i><a href="https://www.seattleopera.org/traviata">La traviata</a></i>, Professor André will lead a new, two-part <a href="https://www.seattleopera.org/classes-camps-clubs/for-adults/opera-classes/staging-difference/">Opera Class</a> on the works of Giuseppe Verdi. Seattle Opera recently sat down with Professor André to learn more about her time as Scholar in Residence, what audiences can expect from her upcoming class, and why it’s important to analyze the art we love.</b><br /></p><span><a name='more'></a></span><p><!--[if gte mso 9]><xml>
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Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
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<![endif]--><b>Seattle Opera:<br /></b>How do you conceptualize your role as Scholar in Residence? How do you think performing arts organizations could benefit from similar roles? <br /><br /> <b>Naomi André:<br /></b>Many performing arts organizations have worked with music scholars in the past, but Seattle Opera was one of the first places to make Scholar in Residence an official role. That designation has given Seattle Opera and its audiences an exciting opportunity to learn from people who have specific expertise in the field. A Scholar in Residence can provide a deep perspective on what sort of research is out there, how scholars think about certain issues, and what ideas are new and exciting. I think it’s really beneficial for performing arts institutions to foster relationships with people who love the art form and spend their lives researching it.</p><p>These sorts of relationships are moving opera in a positive direction. For a long time, I think many people thought of opera primarily as entertainment. But now, people are thinking about opera more critically and looking to the art form to push us forward socially. Now we’re asking questions like “Who’s on stage? What stories are being told?” And I think it’s really wonderful that opera is moving in this direction.<br /><br /><b>Seattle Opera:</b><br />Could you say more about why it’s important to think about the works we put on stage beyond their entertainment value? Why is it worthwhile to dig into them and understand them better?<br /><br /><b>Naomi André:<br /></b>If you think about what it means to be human, so much of it has to do with complexity, with contradiction, with multi-dimensionality. Art captures those human elements beautifully. Art helps us find meaning in our lives and create better spaces for other people. Unfortunately, these days, we have fewer and fewer places where we can all sit together and experience something communally, then talk about it afterwards. Opera, and the arts more generally, provide that indispensable element of humanity. So whereas I used to say, “we should think critically about art because these are important issues,” I think more and more that it’s important to analyze art simply because it’s part of being human.<br /></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCu1oImIuWAKMAOCxrNACpb21Lot4Sfd8vszBc9-SDzQBX3zSeQ-RNkxgkVZ3I-7ykWe95PVlDP_trkVnOFlkK6vepmtJcXtp2P53B_rkFy3VPIMCFE_SdiHwOvUH4AfdZ18e9S5jJ2NwfPpFUjUKzeO1c-5de4hCBOpcb6wVkkeDm6WuVx-8FfD4/s3500/20190426_decolonizingallure_seattleopera_sunnymartini_4153.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2333" data-original-width="3500" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCu1oImIuWAKMAOCxrNACpb21Lot4Sfd8vszBc9-SDzQBX3zSeQ-RNkxgkVZ3I-7ykWe95PVlDP_trkVnOFlkK6vepmtJcXtp2P53B_rkFy3VPIMCFE_SdiHwOvUH4AfdZ18e9S5jJ2NwfPpFUjUKzeO1c-5de4hCBOpcb6wVkkeDm6WuVx-8FfD4/w640-h426/20190426_decolonizingallure_seattleopera_sunnymartini_4153.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Dr. Naomi André at the 2019 Community Conversation “<a href="https://www.seattleopera.org/classes-camps-clubs/for-adults/community-conversations/decolonizing-allure/">Decolonizing Allure</a>.” © Sunny Martini.<br /></td></tr></tbody></table><p><b>Seattle Opera:</b><br />What can audiences expect from your upcoming class “<a href="https://www.seattleopera.org/classes-camps-clubs/for-adults/opera-classes/staging-difference/">Staging Difference</a>,” which looks at issues of race and representation in Verdi’s operas?<br /><br /><b>Naomi André:</b><br /> What’s really fun about this class is that, whether you’re new to opera or a seasoned veteran, Verdi offers something to love. I <i>love </i>Verdi. And part of the magic of opera is that there’s something new every time you dig into it. It’s kind of like baseball in that respect: you can enjoy a day at the ballpark whether you know the game or not, but once you appreciate the subtle complexities of what’s going on, it reveals an entire new dimension. I want to provide that next level of understanding for opera, to share some of the codes that will open up the art form.</p><p>These two classes will offer a deeper look into Verdi’s life and the important issues that shaped who he was as a composer. For example, why is <i>Nabucco </i>so different from <i>La traviata</i>, which is quite different from <i>Falstaff</i>, even though they were all written by the same composer? Learning more about these pieces can help audiences appreciate them more.</p><p>More specifically, these class sessions will investigate how race is represented in Verdi’s operas. We’ll look more deeply at the 19th-century Italian understanding of Spain through works like <i>La traviata</i>, <i>Il trovatore</i>, and <i>Simon Boccanegra</i>; and we’ll look at how Black characters are depicted in works like <i>Un ballo in maschera</i>, <i>Aida</i>, and <i>Otello</i>.<br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgumcqCTjjAdJueFySWcvTWcQJePZPEXVB654nR7FzJ_8kxi5NFWMMLlw-ier5HV5a6w7PGAoxBxhPP5sTshnfB18quNYYUs_KNcefbUBU4Mn7DOcLbQv7IYglVrFzRsfynzBK5gGLoGL1ucKPL-yx6mUT8DK3J3iF1WP69kfy1xiivYb9SWcE7feQ/s2464/2018_SO_Aida_JL_108.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1640" data-original-width="2464" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgumcqCTjjAdJueFySWcvTWcQJePZPEXVB654nR7FzJ_8kxi5NFWMMLlw-ier5HV5a6w7PGAoxBxhPP5sTshnfB18quNYYUs_KNcefbUBU4Mn7DOcLbQv7IYglVrFzRsfynzBK5gGLoGL1ucKPL-yx6mUT8DK3J3iF1WP69kfy1xiivYb9SWcE7feQ/w640-h426/2018_SO_Aida_JL_108.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Gordon Hawkins as Amonasro in <i>Aida</i> (’18). © Sunny Martini.</td></tr></tbody></table><p><b>Seattle Opera:<br /></b>Why is it important to think about issues of race in Verdi’s operas?</p><b>Naomi André:</b><br />Learning about how difference is portrayed in these works gives us a richer appreciation for them. Verdi didn’t write these operas in a bubble: he was influenced by his social context and the ideas that were prevalent at the time.<p></p><p>Take <i>Aida</i>, for example: the opera was commissioned by the Khedivial Opera House in Cairo, which opened all the way back in 1869. It can be easy to forget that opera wasn’t just confined to Europe, and Europe wasn’t sealed off from the outside world. So how does the fact that <i>Aida </i>was written for an Egyptian opera house impact the way its characters are portrayed? What does that mean for productions of <i>Aida </i>today?</p><p>I’m not interested here in “blaming” Verdi for not knowing what we know now about race and cultural difference. In the 19th century, it was simply much harder to travel and see other parts of the world. Yes, he had a position of privilege to portray characters as he saw fit, but the fact that he was trying to include different voices is noteworthy. Characters like Azucena, Othello, Aida, and Amonasro are all human, interesting, three-dimensional, complicated characters. They add so much to the drama. And so I think it’s valuable to consider these characters in the full aspects of their humanity.<br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCeGb4OJD9_35phYC3PKppXp3EfbxKFU8At6CNUtka_b5NJPIb_c0BzJPqTDGSzTpL7ZrqGlJ3WOdcurfNGu1i8OeturRNfTIoY8yVdV3VzNhj3Y1iMnPP5OC5o6hQxoiDs22G4iazBUIgD9Sh6OsxHuZiGE7kCu6ZhYQW_tixwyEok0BlrsqprZA/s3500/20190426_decolonizingallure_seattleopera_sunnymartini_4170.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2333" data-original-width="3500" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCeGb4OJD9_35phYC3PKppXp3EfbxKFU8At6CNUtka_b5NJPIb_c0BzJPqTDGSzTpL7ZrqGlJ3WOdcurfNGu1i8OeturRNfTIoY8yVdV3VzNhj3Y1iMnPP5OC5o6hQxoiDs22G4iazBUIgD9Sh6OsxHuZiGE7kCu6ZhYQW_tixwyEok0BlrsqprZA/w640-h426/20190426_decolonizingallure_seattleopera_sunnymartini_4170.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Dr. Naomi André at the 2019 Community Conversation “<a href="https://www.seattleopera.org/classes-camps-clubs/for-adults/community-conversations/decolonizing-allure/">Decolonizing Allure</a>.” © Sunny Martini.</td></tr></tbody></table><p><b>Seattle Opera:</b><br />One last question: what has been your favorite part of working as Seattle Opera’s Scholar in Residence so far?<br /><br /><b>Naomi André:<br /></b>For me, this partnership has been beneficial because I get to see the inner workings of opera and meet the people who are bringing it to life. I see the incredible devotion on the part of the staff, as well as the care and expertise that goes into making opera. Opera is so meaningful in my life, but I used to think that the machine of opera was all on the stage: it was the singers and the crew working offstage to make the machinery run. But realizing the machinery of opera is so much bigger than that has been really fun to see.<br /><b><br />Naomi André is the David G. Frey Distinguished Professor in Music and a 2022/23 Fellow at the National Humanities Center at the University of North Carolina at Chapel Hill. She is the author of <i><a href="https://www.press.uillinois.edu/books/?id=p083570">Black Opera: History, Power, Engagement</a></i> and a founder of the Black Opera Research Network. You can register for her upcoming course, “Staging Difference: Race and Representation in Verdi’s Operas,” at <a href="http://seattleopera.org/stagingdifference">seattleopera.org/stagingdifference</a>.</b></p>Seattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.com0tag:blogger.com,1999:blog-5630356600537382212.post-91180074916314821622023-04-25T15:50:00.000-07:002023-04-25T15:50:00.074-07:00Stage director Desdemona Chiang on Bound <div class="separator"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Rti_iIh3pEhE4IJcKvSci-VCKNEqG6BbkxVwlzxVFDPhwJ_hiPdQzYXQQkFgygeFYxk6w_irccZNa-UqkuOVAvmpPCVDidHsDLhQSiltqVypCe4yXZCjt0fMlRHvCAb1GVrfu2fxBdufBgpnuWzXq-Zrx_acZ05fQ5IVuW5V7fT0KW1mGmEECd4/s2100/d.%20chiang%20headshot.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2100" data-original-width="1400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Rti_iIh3pEhE4IJcKvSci-VCKNEqG6BbkxVwlzxVFDPhwJ_hiPdQzYXQQkFgygeFYxk6w_irccZNa-UqkuOVAvmpPCVDidHsDLhQSiltqVypCe4yXZCjt0fMlRHvCAb1GVrfu2fxBdufBgpnuWzXq-Zrx_acZ05fQ5IVuW5V7fT0KW1mGmEECd4/w426-h640/d.%20chiang%20headshot.jpg" width="426" /></a></div><p><b><i>Desdemona Chiang is a Taiwanese-born American director and writer based in Seattle, Wash., and Ashland, Oreg. She works in a variety of genres, including new plays, Shakespeare, and musicals. Chiang is known for her visceral, no-nonsense approach to theatre, with her distinct point of view as an immigrant and Asian American woman and an interest in using storytelling to spark social discourse. Chiang will direct </i><a href="https://www.seattleopera.org/bound">Bound</a><i> at Seattle Opera, June 9–18, 2023.<br /></i><span></span></b></p><a name='more'></a><p><b>Seattle Opera:</b><br /> How did you get started in theater? When did you know you wanted to become a stage director? <br /><br /><b>Desdemona Chiang:</b><br /> I came to the theater a little by accident. As it is with many Asian households, I was expected to be a doctor or a lawyer—something “respectable”—so I went to college at UC Berkeley for a degree in biology. In the first semester of my freshman year, I had signed up for all these science classes and my advisor said to me, “You can’t take only science classes. You have to be a well-rounded human, so please take one arts elective.”<br /><br />I asked around and my friends in biology told me about this class in the drama department called “Intro to Acting,” which they all called “clapping for credit” because all you did was stand in a circle and play clapping games. No papers, no lectures—it’s the easiest “A” ever. So I thought, “I’ll just take that and skate my way through this arts class.”<br /><br />That class was surprisingly liberating for me. I was a very serious kid growing up; I was in my head, a bookworm. But in this class, I got to play, I learned to be vulnerable, I was making friends. By the end of my college career, I had taken enough drama classes to double major in biology and theater. My parents were terrified at that idea, but I was just not cut out for medical school.<br /><br />I decided at some point I would do the theater thing for real, which for me meant going to grad school. I applied to MFA programs in directing and was accepted into the University of Washington, which is what brought me to Seattle in 2006. I’ve been based here since then, directing regionally in new plays, Shakespeare, musicals, and now opera.<br /></p><p><b><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitY12F1mEmExnCVNze1i5ac-eTMDhvJjsb0RIEsIut-_DYCgLYUBeHFAQIcBUBz5SUwNVfy8IP5Es85zb3P6ZbaRB7cKs3BNS-AapuBUSSdguJ1hvKBa-7T0uex_1K7PusOLIhVFWNsIT6mOqzvBFkF5kvhTmZ2MwulodDimNS7f9oTvlrBeK5nqU/s2040/Bonesetter's%20daughter.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1632" data-original-width="2040" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitY12F1mEmExnCVNze1i5ac-eTMDhvJjsb0RIEsIut-_DYCgLYUBeHFAQIcBUBz5SUwNVfy8IP5Es85zb3P6ZbaRB7cKs3BNS-AapuBUSSdguJ1hvKBa-7T0uex_1K7PusOLIhVFWNsIT6mOqzvBFkF5kvhTmZ2MwulodDimNS7f9oTvlrBeK5nqU/w640-h512/Bonesetter's%20daughter.webp" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Chiang’s adaptation of Amy Tan’s <span class="_3_yxGICNhkrUIOBvfC0QEW"><i>The Bonesetter</i></span><i>’</i><span class="_3_yxGICNhkrUIOBvfC0QEW"><i>s Daughter</i> premiered at Book-It Repertory Theatre in June 2022. © Anthony Floyd.</span></td></tr></tbody></table></b><b>Seattle Opera:</b><br /> You’re also a playwright: you just opened your adaptation of Amy Tan’s <a href="https://book-it.org/events/the-bonesetters-daughter/"><i>The Bonesetter</i>’<i>s Daughter</i></a> last summer. When did you start writing?<br /><br /><b>Desdemona Chiang:</b><br /> I’m actually fairly new to writing. I was always a director in my career trajectory—more like a midwife of new plays and a sounding board for playwrights. But I’ve broken many scripts and been in development for a lot of new pieces, so when Book-It came to me and said, “Do you want to adapt something?” I was like, “Hey, why not? I certainly have the training for it.”<br /><br />It’s only in the last two years that I have been truly calling myself a writer. There’s a moment where you go from saying that “I’m someone who writes,” to “I’m a writer.” It was the same thing when I started directing. For a while, I was like, “Oh yeah, I kind of direct sometimes,” then at some point I just said, “I’m a director.” I’m going to call myself the thing.<br /><br /><b>Seattle Opera:</b><br /> You have extensive experience with both new works and repertory works. How does your approach differ when you’re working with a new piece versus when you’re working on, say, Shakespeare? <br /><br /><b>Desdemona Chiang:</b><br /> When I’m doing a new piece, I usually have the luxury of having the writer as a resource, someone I can go to and ask, “What did you mean by this?” But there is also an obligation to the writer when it’s a new piece. When you’re directing a world premiere, what you make is perceived as the “original” version. The audience comes in as a blank slate, so there’s a pressure to be true to authorial intent in a way that I don’t feel with classical pieces.<br /><br />You can put Shakespeare underwater, or put him on the moon, and he’ll be fine. He’s been done so many times that there’s no risk of damaging the material. But at the same time, there’s baggage with a classical piece. 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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
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<p class="MsoNormal">One of Chiang’s early forays into musical theater, <i>And So That Happened...</i> at The 5th Avenue Theatre. © Mark Kitaoka.</p>
</td></tr></tbody></table><b>Seattle Opera:</b><br /> What kind of experience do you have with opera or musical theater? Have you directed an opera before?<br /><br /><b>Desdemona Chiang:</b><br /> I recently finished a workshop last week at Opera Delaware: Derrick Wang’s <a href="https://www.operade.org/fearless"><i>Fearless</i></a>, a new opera about Hazel Ying Lee, the first female Chinese American pilot to fly for the US military. But Seattle Opera will be my first true opera production. It’s interesting timing, though, because for the longest time, I wasn’t even directing musical theater, which is odd, given the fact that I read music and used to play the piano. But when you’re freelancing, you end up going wherever the work takes you. And when I was first starting as a director, I was only doing new plays: mostly ones written by women and people of color. But as my career got further along and I started to build a reputation, someone asked if I was interested in Shakespeare. Of course the answer was yes (my name is Desdemona, after all), and it was something that people didn’t realize that I was good at. <br /><br />Once I directed my first Shakespeare, all the Shakespeare offers started pouring in. Then several years ago, the 5th Avenue Theatre reached out and said, “Hey, are you interested in directing musicals?” And, coincidentally, the Village Theatre called, and the next thing you know, I’m doing four musicals that year. So when Seattle Opera reached out about <i><a href="https://www.seattleopera.org/bound">Bound</a></i>, I thought, “Opera? Sure, I can do that.” And two months later, Opera Delaware reached out and asked me to do this new piece for them. It’s a weird zeitgeist feeling, like something’s in the water. <br /><br />The door to opera is opening for me in an exciting way, as an opportunity to work in a different space. It feels like I’m an athlete being asked to play a different sport: I’m fit and I’m trained, but I need to learn some new rules. I know how to talk to actors, I know how to stage, I know how to talk to designers. I know how to see the show, but I need to learn the rules of how opera culture works. <br /><br /><b>Seattle Opera:</b><br /> What was your experience with opera as an audience member? Did you listen to opera much as a music student? <br /><br /><b>Desdemona Chiang:</b><br /> I never attended the opera growing up. The first production I saw was of <i>La traviata</i> at the LA Opera when I was 25, and I clearly remember being told I had to wear a dress that went down to my ankles—which felt so pretentious at the time, because I was a young director doing scrappy theater in basements of pizza parlors. But when I dressed up in a gown and was having a glass of champagne in the lobby surrounded by chandeliers, I suddenly felt mature in a way that I didn’t feel with the theater. Maybe that’s the barrier we all keep talking about…how do you make that kind of moment accessible? How do you make it not feel like this exclusive thing that is reserved for the elite? But I have to admit, there was something very elevating about that experience. I was glad I went, and it was a beautiful production.<br /><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt96SPcMhfz9ItAEKsIT1BI5ImffnVZuMHPhmuRTQ7RFnhCnaG8J-5yXU69WYuzgwnqnoHmRTwmoFeZrY2eR2pGje-uyj53e7PWv3cZXbeXbIqXLlnA0PuqWTh92JMTL5qm1S2rPNGrrhxPLglW7JkaTAVc4POII44XWPWwxo4p9Z4OxQtpjTDo8g/s1140/DesdemonaChiang_Credit-SteveKorn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="760" data-original-width="1140" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt96SPcMhfz9ItAEKsIT1BI5ImffnVZuMHPhmuRTQ7RFnhCnaG8J-5yXU69WYuzgwnqnoHmRTwmoFeZrY2eR2pGje-uyj53e7PWv3cZXbeXbIqXLlnA0PuqWTh92JMTL5qm1S2rPNGrrhxPLglW7JkaTAVc4POII44XWPWwxo4p9Z4OxQtpjTDo8g/w640-h426/DesdemonaChiang_Credit-SteveKorn.jpg" width="640" /></a></b></div><b>Seattle Opera:</b><br /> How do you think opera could learn from the theater world in terms of making the art more accessible? Is there a way we can combine the pleasure of that luxurious experience with the access to the art form in a way that allows more people to have that experience?<br /><br /><b>Desdemona Chiang:</b><br /> I’m torn, because ideologically, I do believe that theater and opera should be for everybody. But at the same time, there’s something to be said about maturing into a genre or a certain kind of culture you consume. There’s no way you could have taken me to an opera at 16 and expected me sit down, pay attention, and actually enjoy it. It would’ve been like medicine. But now I feel like I’ve lived enough and matured enough that I can appreciate it.<br /><br />I don’t want to assume that young people don’t have the capacity for that kind of consumption. But I also find value in things like a rite of passage. Something changed for me when I was 25 and I went to the opera that first time. I always knew the opera existed, but I didn’t care until I went on a whim when my then-boyfriend’s rich father had tickets he couldn’t use. I wouldn’t have gone on my own—there’s no way I would’ve thought that that was a place for me. But once I went, it was transformative.<br /><br />Ultimately, I feel like there’s a challenge here: how do you preserve the integrity of the work and still make it popular? Maybe there’s something inherently contradictory about that. Perhaps there’s a version of opera or Shakespeare that is for the masses, and another version that is about growing into the art form. And there’s room for those two to coexist.<br /><p></p><p></p><p><b>Seattle Opera:</b><br /> Let’s talk about <a href="https://www.seattleopera.org/bound"><i>Bound</i></a>, because I think it gets at some of these questions really nicely. How did you first react when you read Diane Tran’s story, the <a href="https://www.thedailybeast.com/texas-teenager-diane-tran-jailed-for-working-hard">true story</a> that this opera is based on?<br /><br /><b>Desdemona Chiang:</b><br /> At first, I was in disbelief that this was even a true story. Factually, the premise was so absurd that I had to google it. But once I read up on the incident, it was obvious that there was nothing complex about what happened. It’s clear the system was flawed. Even though Diane technically broke the law, she had done nothing morally wrong. So where is the friction between good and bad, right and wrong? It was just so black and white to me, so cut and dry.<br /><br />At the same time, the story hit a lot of my interests—it had a young Asian woman as a protagonist, and an immigration narrative that also dealt with the legal system. I’m interested in stories about people who have to survive inside systems, whether it’s a family system, a financial system, or a sociopolitical system. So the question became, “How do I weave in all of these things that interest me about this piece and make it a complex story?”<br /><br />I started thinking—maybe this is a story about a girl who comes in with one point of view about her life and then ends with a different one. The piece is called “Bound,” and Diane is shown to be bound to all the competing obligations in her life. How we can draw a trajectory where this young woman, in the end, liberates herself? By the end, Diane has to find a way to undo all these attachments and be accountable for her own life.<br /><br />In Buddhism, attachment is the root of all suffering. And the major attachments in life are your family, your mentors, and your enemies. If this is a story about Diane finding a way to detach herself from her mother, from her legacy, and from this “crime” that she’s committed, maybe this is the beginning of a more self-realized way of living for her.<br /><br /><b><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUY6m9Wxik5Vxc9dcx8VGZ3ZaOhZLrhgNAJVqGdPTAYCBthzPvMcyoBL7FKt0ZFYwhsI8urw65dhCJLOVL3UNCMorS5PrkUxvo7vtjwHUjXJZUXX1KuQu5ANSdJ9IJd-b0N1YTSPAcBZzqD1qRbehhKkPg4KlK6WJd56eoI2o0L18XVSVmZdG5mHI/s4288/VanAnh-dan%20Tranh%203-Nguyen%20Nhat%20Hoang.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2848" data-original-width="4288" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUY6m9Wxik5Vxc9dcx8VGZ3ZaOhZLrhgNAJVqGdPTAYCBthzPvMcyoBL7FKt0ZFYwhsI8urw65dhCJLOVL3UNCMorS5PrkUxvo7vtjwHUjXJZUXX1KuQu5ANSdJ9IJd-b0N1YTSPAcBZzqD1qRbehhKkPg4KlK6WJd56eoI2o0L18XVSVmZdG5mHI/w640-h426/VanAnh-dan%20Tranh%203-Nguyen%20Nhat%20Hoang.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
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<p class="MsoNormal">Vanessa Võ plays the đàn tranh, one of two Vietnamese instruments in <i>Bound</i>.<br /></p>
</td></tr></tbody></table>Seattle Opera:</b><br /> What do you think music adds to a story like this? Why set this as an opera as opposed to a straight play?<br /><br /><b>Desdemona Chiang:</b><br /> A key part of the show is the instrumentation, because there is a clear cultural aspect to the piece. To be able to hear sounds of Vietnam [played by <a href="https://www.vananhvo.com/">Vanessa Võ</a> on the đàn bầu and đàn tranh] is key to contextualizing Khanh, the mother character, whom we have a hard time finding compassion for. It’s difficult for western audiences to find sympathy for a mother who leaves her child. But the music helps defend her emotional arc and presents her as a mother who feels as though she has abandoned her homeland to come to America. Hearing the sounds of the old country draws out those feelings of longing, of guilt, of shame, of obligation. It’s a big step toward the audience feeling some sense of understanding for her character.<br /><br /><b>Seattle Opera:</b><br /> What else do you hope that audiences will get out of this story? What do you want them to take away from it?<br /><br /><b>Desdemona Chiang:</b><br /> I think this gets to your earlier question about opera being accessible. Being able to see this story as an opera is something that some audiences might not be accustomed to. It stretches our perception of what can be worthy of an operatic gesture, where you can create something that is deep and epic and intimate at the same time. Just because it’s a chamber piece doesn’t mean that it’s not worthy of greatness. I hope this piece can be a bridge for building a new community of opera-goers in Seattle.</p><p></p><p><b>Bound<i> runs at Seattle Opera June 9–18, 2023. Tickets and info at <a href="https://www.seattleopera.org/bound">seattleopera.org/bound</a>.</i></b><br /></p>Seattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.com0tag:blogger.com,1999:blog-5630356600537382212.post-91294646150589925812023-04-03T14:16:00.004-07:002023-04-03T14:16:58.914-07:00Some Recollections On Directing La Traviata<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;">
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<p><b>By Francesca Zambello</b></p>
<p>In my opinion, <i>La traviata</i> is just about perfect, musically and dramatically. There are some operas I never tire of and and this is one of them. I am always happy to open the score and study the words and the music again and again.</p>
<p>We expect to see singers and conductors revisit works multiple times, but this is less often the case with a director – she is more likely to create “her” <i>Traviata</i>, or <i>Magic Flute</i>, or <i>Butterfly</i>, making only minor adjustments as the production is revived in different houses and with different casts. It’s less common for a director to start over with a piece. But I’ve reimagined <i>Traviata</i> in houses ranging from Skylight Opera Theatre (where we billed it <i>Lady of the Camellias</i>, 1988) to Bordeaux (1998) to Sydney (2011) to the Bolshoi (2013) and now here.</p>
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</td></tr><tr><td class="tr-caption" style="text-align: center;">© Scott Suchman<br /></td></tr></tbody></table>
<p>My first encounter with <i>Traviata</i> as a director was near the start of my career, when I prepared the “family matinee” cast for the San Francisco Opera. I remember being frustrated by the idea that this family performance – meant, in part, to introduce new audiences to the opera – would be sung in Italian and therefore be incomprehensible to many in the audience. Back then, “serious” operagoers would study an English translation of the libretto in advance of attending a performance. But how would we turn these new audience members into serious operagoers if they could not follow the story?</p>
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</td></tr><tr><td class="tr-caption" style="text-align: center;">© Rozarii Lynch<br /></td></tr></tbody></table>
<p>It was the early 80s, and people were just starting to play with the idea of projected translations above the stage. The purists were in a furor, but I convinced the then General Director, Terry McEwen, that the family matinee was the perfect setting to experiment with titles. I worked with the stage manager, the late Jerry Sherk, to figure out a way to project translations from the lighting booth. Nowadays we just put everything into a computer program, but back then we had to make a literal “slide” of each line and load the slides into carousels like the ones we used to use to share photos from family vacations. Each carousel held no more than 80 slides, so we loaded up stacks of them, which had to be changed out during the performance. In the end, my direction for that production of <i>La traviata</i> was probably pretty work-a-day, but the reaction to the use of supertitles forever changed the San Francisco Opera audience.</p>
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</td></tr><tr><td class="tr-caption" style="text-align: center;">© Scott Suchman<br /></td></tr></tbody></table>
<p>For this production, which we’ve set in Paris at the beginning of the 20th century, I wanted a straightforward take on the story, with perhaps one small twist. In the music of the prelude, Verdi gives us a glimpse of the story’s end, so I have followed his suggestion and presented Violetta’s story as a long flashback. We follow her from her deathbed to her lavish Parisian home, then to the countryside with Alfredo, and finally back to where we began. All the characters we see initially stay with us as we morph into different locations awaiting the inevitable.</p>
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</td></tr><tr><td class="tr-caption" style="text-align: center;">© Scott Suchman<br /></td></tr></tbody></table>
<p>Since that family matinee in San Francisco, supertitles have revolutionized our art form. Taking in an opera’s story now requires no special preparation or background. At the same time, a truly great work like <i>La traviata</i> is an inexhaustible well. Like many long-time operagoers, I know every plot point and every tune by heart. But every time I encounter the piece, my ideas evolve, based on my own life experience, on what the cast brings to the piece, on the physical setting we choose, and on society’s changing views on women.</p>
<p>Whether this is your first opera or your twentieth <i>Traviata</i>, I welcome you to join me in exploring Violetta’s unforgettable journey.</p>
<p><b><i><a href="https://www.seattleopera.org/traviata">La traviata</a></i> runs May 6–21 at McCaw Hall. Tickets and info at <a href="https://www.seattleopera.org/traviata">seattleopera.org/traviata</a>.</b></p>
Seattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.com0tag:blogger.com,1999:blog-5630356600537382212.post-68886043964935148742023-03-31T11:00:00.002-07:002023-04-13T17:27:08.186-07:00Get to know La traviata’s award-winning cast<p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglnhoFQerjC__oHsp1z4_93mkUDEfJf4J1Df8Y3-7a81tqb3qT1wPX1u_7Bv9aQeSB6udYY7OPlNO6LV307x2yEXL00xPnmmGulz54FDjzcYoSd5eIF0_lNJQ8kXoFvIqF_mTOYTE_EdVpUC3NBdPv1Pf4gXMKqkU1uY3mxtvG-Zz4jx3wWPtie3A/s4000/20191016_cinderella-day01_seattleopera_sunnymartini_14266.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2667" data-original-width="4000" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglnhoFQerjC__oHsp1z4_93mkUDEfJf4J1Df8Y3-7a81tqb3qT1wPX1u_7Bv9aQeSB6udYY7OPlNO6LV307x2yEXL00xPnmmGulz54FDjzcYoSd5eIF0_lNJQ8kXoFvIqF_mTOYTE_EdVpUC3NBdPv1Pf4gXMKqkU1uY3mxtvG-Zz4jx3wWPtie3A/w640-h426/20191016_cinderella-day01_seattleopera_sunnymartini_14266.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Joo Won Kang as Dandini in 2019's <i>Cinderella</i>. © Sunny Marini.</td></tr></tbody></table><p>Seattle Opera’s upcoming <a href="https://www.seattleopera.org/traviata"><i><b>La traviata</b></i> </a>features a star-studded, international cast with impressive resumes. Learn more about recent awards won by our singers, and be sure not to miss your chance to hear them in action when <i>La traviata</i> opens in May!</p><p><span></span></p><a name='more'></a><!--[if gte mso 9]><xml>
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</xml><![endif]--><h3 style="text-align: left;"> Vuvu Mpofu (Violetta)†</h3><h4 style="text-align: left;"> John Christie Award, 2019</h4> The <a href="https://www.glyndebourne.com/festival/vuvu-mpofu-wins-prestigious-john-christie-award/">John Christie Award</a> is an annual scholarship awarded since 1965 by the Worshipful Company of Musicians to fund private study for promising young singers.<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFKUo0zWdJVtGOB5A3O_kkRhd52M3Le1sSWLgvLJWqzxxyPUvNLioDH6ckKHe5GfbsYS5_yYGIKC7yz9QDJioGk9GouEgoyYNgEfUsWVYOjyNuRi9dHtPiijFhDzvppafI8HEWZjRAaxxRe0f-hyQUGycjQOUb8RXYzJ98bu_LBORxn-x4J4LixfU/s7894/1_354.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="7894" data-original-width="5265" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFKUo0zWdJVtGOB5A3O_kkRhd52M3Le1sSWLgvLJWqzxxyPUvNLioDH6ckKHe5GfbsYS5_yYGIKC7yz9QDJioGk9GouEgoyYNgEfUsWVYOjyNuRi9dHtPiijFhDzvppafI8HEWZjRAaxxRe0f-hyQUGycjQOUb8RXYzJ98bu_LBORxn-x4J4LixfU/w426-h640/1_354.jpg" width="426" /></a><br /><br /><h3 style="text-align: left;">Mané Galoyan (Violetta)†</h3><h4 style="text-align: left;"> Second prize, Zarzuela Prize, and Prize of the Audience, Operalia 2021</h4><p> <a href="https://www.operaliacompetition.org/about/">Operalia</a> is one of the world’s most prestigious singing competitions, attracting hundreds of international applicants each year.<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUH2uKijRnB2P2dHaslkfrJqgbBBa5KuotxKFuicG1KMxezdOzooZyhJdrMkzzsalAitDoLm2WocduTqc5MXlI_fZlme4GMaJRSzWIPWb25ihr5IX6e_wqOe01K6i6oNIBo8TLtfPJQeE8vi_2mMjZOunBuvKDPwBOvS0Obufra2tqNij9XJLoaok/s5616/GaloyanMane_pc_Robert%20Koloyan.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3744" data-original-width="5616" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUH2uKijRnB2P2dHaslkfrJqgbBBa5KuotxKFuicG1KMxezdOzooZyhJdrMkzzsalAitDoLm2WocduTqc5MXlI_fZlme4GMaJRSzWIPWb25ihr5IX6e_wqOe01K6i6oNIBo8TLtfPJQeE8vi_2mMjZOunBuvKDPwBOvS0Obufra2tqNij9XJLoaok/w640-h426/GaloyanMane_pc_Robert%20Koloyan.JPG" width="640" /></a><br /></p><p><br /></p><h3 style="text-align: left;">Dominick Chenes (Alfredo)</h3><h4 style="text-align: left;">Second prize, Gerda Lissner Competition 2013<br /></h4><p>Since 2010, the International Voice Competition sponsored by the <a href="http://www.gerdalissner.org/mission">Gerda Lissner Foundation</a> has sought to provide young opera singers with the financial support they need to pursue their craft and excel in their careers.<br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN9FUXkz9D-9oDdgg7rCklELToXVcWr6WA47m7jqmdxQb86FY-pdYGqq-pVwMrmBvWoxF4Zer3Y0iIaQjHZ_DSMLzLQ1856PzqmzBJrC4oQOjb2FZ0MSjosf4tSGSZdUqrNZkocFLffXxKIWeHnExgVKJgW7lrUvWeeLKWKarYvhRqimqUNEHz4a8/s1600/2017_Butterfly_JL_145.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1065" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN9FUXkz9D-9oDdgg7rCklELToXVcWr6WA47m7jqmdxQb86FY-pdYGqq-pVwMrmBvWoxF4Zer3Y0iIaQjHZ_DSMLzLQ1856PzqmzBJrC4oQOjb2FZ0MSjosf4tSGSZdUqrNZkocFLffXxKIWeHnExgVKJgW7lrUvWeeLKWKarYvhRqimqUNEHz4a8/w640-h426/2017_Butterfly_JL_145.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"> Dominick Chenes as Pinkerton with Yasko Sato as Cio-Cio-San in 2017's <i>Madame Butterfly</i>. © Jacob Lucas. </td></tr></tbody></table><br /><h3 style="text-align: left;">Duke Kim (Alfredo)†</h3><h4 style="text-align: left;"> Second prize, Operalia 2022</h4> <a href="https://www.operaliacompetition.org/about/">Operalia</a> is one of the world’s most prestigious singing competitions, attracting hundreds of international applicants each year.<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnocLnBCekSNgKSc4GfH7A2hoj7zuJYoLN3eV2EmtNCBcvpfp8iDTxok58TSYHMznOAVvDy5Dge9VoxH7r4uBBv1XBcZBFXho1GqC3-DYG9Wfi8ZLHr6AkfRpEW9MCk8Ewk1_Zg_VeURabUXS2zrLQUvG2xKBAVXOhbT7sH2aY5GQkhRAedfCoIeg/s8256/DSC_0681.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="5504" data-original-width="8256" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnocLnBCekSNgKSc4GfH7A2hoj7zuJYoLN3eV2EmtNCBcvpfp8iDTxok58TSYHMznOAVvDy5Dge9VoxH7r4uBBv1XBcZBFXho1GqC3-DYG9Wfi8ZLHr6AkfRpEW9MCk8Ewk1_Zg_VeURabUXS2zrLQUvG2xKBAVXOhbT7sH2aY5GQkhRAedfCoIeg/w640-h426/DSC_0681.jpg" width="640" /></a><br /><br /><h3 style="text-align: left;">Michael Chioldi (Germont)</h3><h4 style="text-align: left;"> Southwest winner, Metropolitan Opera National Council Auditions 1995</h4> The Metropolitan Opera’s annual singing competition, started in 1954 and now known as the <a href="https://www.metopera.org/about/auditions/competition/about-the-Laffont-Competition/">Laffont Competition</a>, is designed to discover promising young opera singers and assist in the development of their careers.<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDT0gtJHfmFh9iQlrr1W1ejxpmNNbxrg8rJtZhF6PYeedgv_GZjgns80ya-JaafqiV_u1kwIqtibX5gFlN5DPBpgS6ckFWL8wzaKnLFjxdWjFn7AaWGUAWh-VfiiYUAcpDoPxVGZzgfFLoiuiMEGMH_Czwv3FcutGVL9GvPDHTTKT0ElIDSjPriY0/s3000/20211014_day02-laboehm_seattleopera_sunnymartini_19883.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3000" data-original-width="2000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDT0gtJHfmFh9iQlrr1W1ejxpmNNbxrg8rJtZhF6PYeedgv_GZjgns80ya-JaafqiV_u1kwIqtibX5gFlN5DPBpgS6ckFWL8wzaKnLFjxdWjFn7AaWGUAWh-VfiiYUAcpDoPxVGZzgfFLoiuiMEGMH_Czwv3FcutGVL9GvPDHTTKT0ElIDSjPriY0/w426-h640/20211014_day02-laboehm_seattleopera_sunnymartini_19883.jpg" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Michael Chioldi as Marcello in 2021's <i>La Bohème</i>. © Sunny Marini.<br /></td></tr></tbody></table><br /><h3 style="text-align: left;">Joo Won Kang (Germont)</h3><h4 style="text-align: left;"> First prize, McCammon Voice Competition 2014</h4> The <a href="https://www.mvcompetition.org/about-mccammon">McCammon Voice Competition</a> is a prestigious showcase of young singers hosted biannually by Fort Worth Opera.<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6ZwLUDIVxWBp5KeXfh52hBt2TuRiMw0CIwB0u9S6CvwPxCysLtGZp8kktQBVlWGW6voeINK62rVcVwmyOx0x2cFmYCZfU9pPKL3gpuUhXm7ipZwO0AFNxspo8l7v_ViVtioDctRWYpZQ09LfVhGPVsuCRrj6zF8G3uDJLU-YcF8iWr-T9yXpnD6A/s2856/191015_Cinderella_DR.1_%20125_DR.Piano_.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2856" data-original-width="1904" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6ZwLUDIVxWBp5KeXfh52hBt2TuRiMw0CIwB0u9S6CvwPxCysLtGZp8kktQBVlWGW6voeINK62rVcVwmyOx0x2cFmYCZfU9pPKL3gpuUhXm7ipZwO0AFNxspo8l7v_ViVtioDctRWYpZQ09LfVhGPVsuCRrj6zF8G3uDJLU-YcF8iWr-T9yXpnD6A/w426-h640/191015_Cinderella_DR.1_%20125_DR.Piano_.jpg" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Joo Won Kang as Dandini in 2019's <i>Cinderella</i>. © Philip Newton.</td></tr></tbody></table><br /> † = Seattle Opera debut<br /> <br /> <b><i><a href="https://www.seattleopera.org/traviata">La traviata</a></i> runs May 6–21 at McCaw Hall. Tickets and info at <a href="https://www.seattleopera.org/traviata">seattleopera.org/traviata</a>.</b><p></p>Seattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.com0tag:blogger.com,1999:blog-5630356600537382212.post-23810433388560260932023-03-03T10:11:00.002-08:002023-03-09T10:33:07.907-08:00Praise for A Thousand Splendid Suns<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglCeDPNRtFT9Z0EbyNTfjDZfs54iUf4gFICAgsnpQ0U13-61eqJ3hmfNTD_t0VT8F-LdFTGkTCFr3_QGy8cO67v1uEvJTxEbF_fCZtJcfi05yetXLi2loerNV4l-GrOCWnM3ZdPgejHgSLWlnDPwdHEzkhFdf1bd5FbpYceRpNwUwM9l-wrKUsLrA/s1600/0303-suns_blog_05.jpg" style="display: block; text-align: center;"><img alt="" border="0" data-original-height="882" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglCeDPNRtFT9Z0EbyNTfjDZfs54iUf4gFICAgsnpQ0U13-61eqJ3hmfNTD_t0VT8F-LdFTGkTCFr3_QGy8cO67v1uEvJTxEbF_fCZtJcfi05yetXLi2loerNV4l-GrOCWnM3ZdPgejHgSLWlnDPwdHEzkhFdf1bd5FbpYceRpNwUwM9l-wrKUsLrA/s1600/0303-suns_blog_05.jpg" width="600" /></a>
</td></tr><tr><td class="tr-caption" style="text-align: center;">John Moore (Rasheed) and Karin Mushegain (Mariam) in<i> A Thousand Splendid Suns</i>. © Sunny Martini<br /></td></tr></tbody></table>
<p>“<b>Haunting and beautiful</b>, the story and music merge as one in this formidable show.” <i>–</i><a href="https://www.broadwayworld.com/seattle/article/Review-A-THOUSAND-SPLENDID-SUNS-at-Seattle-Opera-20230226"><i>Broadway World</i></a></p>
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<p>“It is difficult to think of a way in which this opera and this production could have been improved. We congratulate Seattle Opera for bringing this beautiful and important work into existence, and encourage readers to attend this wonderful world premiere.” –<i><a href="https://www.sgn.org/story.php?ch=arts__entertainment&sc=theater___stage&id=323369">SGN</a></i></p><p>“By the end of this deeply engrossing saga of a life-changing friendship, you’ll have a new impression of Afghanistan imprinted in your mind — thanks to fleeting scenes of a prosperous Kabul shopping district filled with women in colorful modern dress, of children playing happily — along with a lingering sense of the power of love and female courage.” –<i><a href="https://crosscut.com/culture/2023/02/seattle-opera-thousand-splendid-suns-burns-brightly">Crosscut</a></i></p><p>“I happened to be at the Seattle Opera on the pay-what-you-can night, and I felt the audience reflected how opera was always supposed to be. In my 20 years of classical music-going, this was one of the more diverse audiences I’ve seen for a venue where tickets start at a higher price point than most are comfortable with. The audience was also exhilarating. People gasped and jeered, just like audiences have been for more than four centuries. As the show went on and people became more comfortable, I found myself smiling at the beautiful experience of live opera performances. […] If you have never been to the opera, if you are interested in seeing the small stories of these women portrayed with the bigness they deserve, I recommend it.” –<i><a href="https://www.realchangenews.org/news/2023/03/08/burning-bright-seattle-opera-tells-tale-two-women-bound-together-fate">Real Change</a></i><br /></p><p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU3PBs1K9-Lk5yZVMsGcuov-F-r1wQyUGJE5rO0PyJN45x9nO3ddP8zgjU6ZpClropMPXFL9OuT2Eo58HRAuK9a_Ott_w3RCHbc-OZA0I7qr1W6aSDO9afi3IMLVmnGoBkjVDvmwilXRoCo78iinjYJBK2QdjEOUuI6_JoVc30gspnNA2uLiSZh48/s6022/20230222_a1000splendidsuns_night01_sunnymartini_15875.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4017" data-original-width="6022" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU3PBs1K9-Lk5yZVMsGcuov-F-r1wQyUGJE5rO0PyJN45x9nO3ddP8zgjU6ZpClropMPXFL9OuT2Eo58HRAuK9a_Ott_w3RCHbc-OZA0I7qr1W6aSDO9afi3IMLVmnGoBkjVDvmwilXRoCo78iinjYJBK2QdjEOUuI6_JoVc30gspnNA2uLiSZh48/w640-h426/20230222_a1000splendidsuns_night01_sunnymartini_15875.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Karin Mushegain (Mariam) and Maureen McKay’s (Laila) bond over their shared circumstances. © Sunny Martini</td></tr></tbody></table>“As Opera, <i>A Thousand Splendid Suns</i> Is a Perfect Fit” –<a href="https://www.musicalamerica.com/news/newsstory.cfm?storyid=52360&categoryid=4&archived=0"><i>Musical America Worldwide</i></a></p>
<p>“The opera, which opened Saturday night, brought lyrical, beautiful music to a poignant tale on the McCaw Hall stage.” –<a href="https://www.seattletimes.com/entertainment/classical-music/seattle-operas-a-thousand-splendid-suns-is-a-poignant-timely-tale/"><i>The Seattle Times</i></a></p>
<p>“The cast of A THOUSAND SPLENDID SUNS is an indomitable force.” –<a href="https://www.broadwayworld.com/seattle/article/Review-A-THOUSAND-SPLENDID-SUNS-at-Seattle-Opera-20230226"><i>Broadwayworld.com</i></a></p>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz4Q746oTu_1sbxIhBqNVTS_gyLP7OTa1pgSYsfnlfY4zS5wLqmlTtFMKBcW6UScbjVpNWBRA5H7t-4evonuKLahQJMgRNI9Z4VA9UsiyD-4efTLsM6gZT3mwlTbHaOnCLsMTmkkyvHL6NUCkDHmXP0-S0yLEW_g3x5LGYKbd25EhrhiuOHE1bIWg/s1600/0303-suns_blog_04.jpg" style="display: block; text-align: center;"><img alt="" border="0" data-original-height="800" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz4Q746oTu_1sbxIhBqNVTS_gyLP7OTa1pgSYsfnlfY4zS5wLqmlTtFMKBcW6UScbjVpNWBRA5H7t-4evonuKLahQJMgRNI9Z4VA9UsiyD-4efTLsM6gZT3mwlTbHaOnCLsMTmkkyvHL6NUCkDHmXP0-S0yLEW_g3x5LGYKbd25EhrhiuOHE1bIWg/s1600/0303-suns_blog_04.jpg" width="600" /></a>
</td></tr><tr><td class="tr-caption" style="text-align: center;">Rafael Moras (Tariq) likens his love for Maureen McKay (Laila) to that of <a href="https://www.seattleoperablog.com/2023/02/the-human-fascination-with-forbidden.html">Layla and Majnun</a>. © Sunny Martini<br /></td></tr></tbody></table>
<p>“[<i>A Thousand Splendid Suns</i>] is a haunting, atmospheric work full of lush evocative music rendered in technicolor orchestrations inflected with Afghanish [sic] flourishes.” –<i><a href="https://www.postalley.org/2023/03/01/review-illuminating-seattle-operas-thousand-splendid-suns/">Post Alley</a></i></p><p>“The stagecraft and the power of the music, which combines punches of western music worthy of a Sibelius or a Stravinsky, punctuated by Hindustani motifs, make the experience a wall of unbelievable light and sound come throbbing off the stage with Mariam at the center. At many times during this opera, I was suffocating and trying not to sob.” –<i><a href="https://nwasianweekly.com/2023/03/death-comes-for-the-heroine-again-stunning-opera-blazons-paradox-for-abused-women/">Northwest Asian Weekly</a></i></p><p>“The story is absolutely heartbreaking yet transcendently gorgeous, a reflection upon love and family, the intersection between the two, and the struggles of women in everyday life. I found myself in tears by the end of the performance, the emotional weight of the words of the actors washing over me in waves throughout the opera. I would highly recommend attending.” –<i><a href="https://www.dramainthehood.net/2023/02/a-thousand-splendid-suns-heartwrenching-reflection-on-motherhood/">Drama in the Hood</a></i></p><p><i><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_mI1K5XcGAEZcfmFGBi9e6SCDKqN4buUFxM90KtK6OBLPXoQyaQ99sADxru-JASV4hzCWgnxOAtO50xMXw7SXwQcVp-CTqi78sx9E5yINmCyD9VOLgJHsqWQETVM_ibZIHNckQILmM3cjgu2uQ0VKH4MZ7n1lsRSAlYs2kUORMHdGjVDO6nHoBPQ/s6034/20230222_a1000splendidsuns_night01_sunnymartini_14395.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4025" data-original-width="6034" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_mI1K5XcGAEZcfmFGBi9e6SCDKqN4buUFxM90KtK6OBLPXoQyaQ99sADxru-JASV4hzCWgnxOAtO50xMXw7SXwQcVp-CTqi78sx9E5yINmCyD9VOLgJHsqWQETVM_ibZIHNckQILmM3cjgu2uQ0VKH4MZ7n1lsRSAlYs2kUORMHdGjVDO6nHoBPQ/w640-h426/20230222_a1000splendidsuns_night01_sunnymartini_14395.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Seattle Opera cast members as vendors and market-goers on the streets of Kabul. © Sunny Martini</td></tr></tbody></table></i>“Despite the women-focused nature of the plot, the male voices also shone. As Tariq, Rafael Moras’ honeyed tenor blended beautifully with the soprano of Maureen McKay’s Laila during their delicate love scene, one of the opera’s musical highlights. Baritone John Moore brought a larger-than-life presence to the villainous husband, Rasheed.” –<a href="https://www.seattletimes.com/entertainment/classical-music/seattle-operas-a-thousand-splendid-suns-is-a-poignant-timely-tale/"><i>The Seattle Times</i></a></p><p>“The intention behind everything the Seattle Opera does is highly commendable. From hiring Afghan consultants, Afghan musicians, and other Afghan artisans, the flavor that was so needed in this story was absolutely there.” –<i><a href="http://eclecticartswa.blogspot.com/2023/02/a-thousand-splendid-suns-seattle-opera.html">Eclectic Arts</a><br /></i></p>
<p>“Silver’s music deftly meshed traditional South Asian instruments with the orchestra and the voices on stage” –<a href="https://www.seattletimes.com/entertainment/classical-music/seattle-operas-a-thousand-splendid-suns-is-a-poignant-timely-tale/"><i>The Seattle Times</i></a></p>
<p>“In its most indelible moments—above all, when the bond between Mariam and Laila emerges as the opera’s true love story—<i>A Thousand Splendid Suns</i> reaffirms the human connection that crosses cultures and that may, in this era of extreme polarization, be our last hope.”–<a href="https://www.musicalamerica.com/news/newsstory.cfm?storyid=52360&categoryid=4&archived=0"><i>Musical America Worldwide</i></a></p>
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</td></tr><tr><td class="tr-caption" style="text-align: center;">Karin Mushegain (Mariam) cradles Maureen McKay’s (Laila) daughter, Aziza, as they consider a life of freedom. © Sunny Martini<br /></td></tr></tbody></table>
<p>“Over a decade in the making, this opera represents the efforts and labors of love of so many. Representative Pramila Jayapal, in attendance on opening night stated, 'it was a reminder of the importance of what we are fighting for.' On a night of magic, we were all reminded that hope and courage live in the cracks between the hard rocks of oppression and subjugation. A reminder that love exists in all places, and the yearning in the hearts of those behind the closed walls will always be a light like that of a thousand splendid suns.” –<a href="https://www.broadwayworld.com/seattle/article/Review-A-THOUSAND-SPLENDID-SUNS-at-Seattle-Opera-20230226"><i>Broadwayworld.com</i></a></p>
<p>“Mushegain's remarkable voice is earthy and full. She casts a spell over you with her heart-breaking spirit that refuses to lose hope.” –<a href="https://www.broadwayworld.com/seattle/article/Review-A-THOUSAND-SPLENDID-SUNS-at-Seattle-Opera-20230226"><i>Broadwayworld.com</i></a></p>
<p>“As Mariam, mezzo-soprano Karin Mushegain imbued her lines with a compelling blend of pathos, despair, and, especially in her transcendent final scene (with a nod to Puccini’s <i>Suor Angelica</i>), radiance.” –<a href="https://www.musicalamerica.com/news/newsstory.cfm?storyid=52360&categoryid=4&archived=0"><i>Musical America Worldwide</i></a></p>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIljVQIUNaHFx-meB60sAksO_CLlZ-7FW24GV21tirt1lC5bq8fi0UmucKN_I-6fjZx38rLfKoFOsxS5nA2LKLVmX3JURnGWGXzSS-aMKVUP2A-fa_ZbwjrP4ONewMU6be_TFnEc-U0WZ-RCJLtJd4PfxFSqweIUuCPqsTy-R8wpeXG0bEgqheyrc/s1600/0303-suns_blog_01.jpg" style="display: block; text-align: center;"><img alt="" border="0" data-original-height="801" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIljVQIUNaHFx-meB60sAksO_CLlZ-7FW24GV21tirt1lC5bq8fi0UmucKN_I-6fjZx38rLfKoFOsxS5nA2LKLVmX3JURnGWGXzSS-aMKVUP2A-fa_ZbwjrP4ONewMU6be_TFnEc-U0WZ-RCJLtJd4PfxFSqweIUuCPqsTy-R8wpeXG0bEgqheyrc/s1600/0303-suns_blog_01.jpg" width="600" /></a>
</td></tr><tr><td class="tr-caption" style="text-align: center;">John Moore (Rasheed), Karin Mushegain (Mariam), and Grace Elaine Franck-Smith (Zalmai) in <i>A Thousand Splendid Suns</i>. © Sunny Martini<br /></td></tr></tbody></table>
<p>“John Moore’s dusky baritone, by contrast, spewed cruelty and scorn but never warmth, underscoring the prison of static resentment Rasheed has built around himself.” –<a href="https://www.musicalamerica.com/news/newsstory.cfm?storyid=52360&categoryid=4&archived=0"><i>Musical America Worldwide</i></a></p>
<p>“Maureen McKay fearlessly shaped Laila’s high-lying, at times acrobatic lines with lyrical warmth and passion and showed extraordinary mettle in her moments of confrontation. The chemistry was palpable between her and Rafael Moras in the tenor role of her lover Tariq, whose unexpected return to Kabul precipitates the culminating crisis. Moras navigated the part’s high tessitura with heroic bravado.” –<a href="https://www.musicalamerica.com/news/newsstory.cfm?storyid=52360&categoryid=4&archived=0"><i>Musical America Worldwide</i></a></p>
<p>“The world opera premiere of <i>A Thousand Splendid Suns</i> was sort of surreal, but then again, so is life. In the same way that Khaled Hosseini’s words struck chords 20 years ago, helping me to imagine a world unlike my own, this performance hit me differently than I’d expected. I did flinch, a few times, at reminders of the traumas in my past, but I was amazed at how it approached the reality of life and its potential for ugliness with so much grace, leaving out unnecessarily triggering moments without actually excluding them from the performance. @khosseini has never been afraid to show us the truth, despite knowing that it will not be comfortable to see. Thanks @seattleopera for opening up worlds of conversation and enlightenment.” –Zena A, from <a href="https://www.instagram.com/p/CpOE8Azy8jh/?utm_source=ig_web_copy_link">Instagram</a></p>
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</td></tr><tr><td class="tr-caption" style="text-align: center;">Karin Mushegain (Mariam) in <i>A Thousand Splendid Suns</i>. © Sunny Martini<br /></td></tr></tbody></table>
<p>“@SeattleOpera's opening of <i>A Thousand Splendid Suns</i> last night was a revelation. As a student of asian and western baroque, it was daunting, and brave. The piece bares Afghanistan's wounds, and threads in its day-to-day medicine throughout. A clarion, woven with blessings.” –Kevin K, from <a href="https://twitter.com/kevinkaouthomn/status/1629903465156841472?s=20">Twitter</a></p>
<p>“Bravo! What a moving, beautiful, magnificent piece. And may peace, empathy and greater human rights expand from this deep and powerful art. Thank you to all the talented cast, crew, compose Sheila Silver, director Roya [Sadat], Bansuri player (Steve Gorn - Bansuri Virtuoso) Steve Gorn and all!” –Gina S, from <a href="https://www.facebook.com/SeattleOpera/posts/pfbid0aFKiJTjEPd6wqGRzubJGH1HeLwUxgGnwgyBMiXtNmH6YSbMyQRuTw7R43NWuwBtjl">Facebook</a></p>
<p>“Remarkable, astonishing achievement. I would have imagined such a creation nearly unthinkable in today's art macrocosm. For once, it feels good to be wrong!” –Giles K, from <a href="https://www.instagram.com/p/CpF5YCQMo9j/?utm_source=ig_web_copy_link">Instagram</a></p>
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<p><b><i>A Thousand Splendid Suns</i> runs now through March 11, 2021. Tickets and info at <a href="https://www.seattleopera.org/suns">seattleopera.org/suns</a>.</b></p>
<p> </p>Seattle Operahttp://www.blogger.com/profile/04003665787231048819noreply@blogger.com0