Ramola Bachchan presents RUNWAY RISING, Fashion & Lifestyle Exhibition 5th July ,2017 at The Ashok Hotel.

Ramola Bachchan presents RUNWAY RISING, Fashion & Lifestyle Exhibition 5th July ,2017 at The Ashok Hotel.
Event on 2017-07-05 11:00:00
New Delhi, April 2017: With the best of Fashion and lifestyle this exclusive exhibition was conceptualized and founded by Ramola Bachchan in October 2013. This is the 16th edition of this exhibition that provides a platform to young and talented designers along with established top notch- designers/brands to cater to the needs of Delhi’s elite crowd. With Over 100 Designers offering various merchandise like footwear, accessories, and clothes: there is something for everyone!

If you're looking for accessories to match your outfit or the perfect outfit for your next date, or that suit you need for the next shaadi you have to attend head straight to Runway Rising on the 5th of July. With accessories starting from INR 2000, the exhibition is pocket friendly and serves a varied palate in terms of designs, options and price range.

The exhibition will be held on Wednesday, July 5th, 2017 at the Ashoka Hotel, Chanakayapuri, New Delhi, featuring designers like Kalista ,Lustre by Poonam and Meenu ,The Pink Mirror ,Shri Hari DiaGems by Vinay Gupta ,Bedika & Richa, Sasa Group ,The Front Row, Rasa Couture , Clad Clan ,Zephyr by Jyoti Khosla ,Palette by Priyanka ,Inayat, Mise a jour by Shilpa Raina Wahal ,The whispering yarns,Balance by Rohit Bal ,Genes Lecoanet Hemant.and many more!

DATE: 5th July, 2017
LOCATION: Ashoka Hotel, Chanakayapuri
TIMING: 11 A.M. – 8 P.M.

at Hotel Ashok
New Delhi, India

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2017 Queensland State Architecture Awards

2017 Queensland State Architecture Awards
Event on 2017-06-23 19:00:00
The Queensland Chapter invites members, architects, clients, design professionals and the broader community to come together and celebrate what we love about architecture, as we announce the winners of the 2017 State Architecture Awards. This is the one night in our events calendar you don't want to miss.  Doors open at 7:00pm for an opportunity to preview this year's entries during pre-dinner drinks, followed by a three-course dinner served during the award presentations. After the ceremony, continue to enjoy celebrations with good company until 12 midnight.   Event Details   Date: Friday 23 June Venue: Plaza Ballroom, Brisbane Convention & Exhibition Centre, Merivale St, South Brisbane Time: 7:00pm – Midnight Dress Code: After Five/Cocktail Tickets: 0 per person RSVP Date: Friday 16 June     Frequently Asked Questions   What will the seating arrangements be like? Long communal tables are made up of groups of 8 or 10 each. The Awards presentations will be held throughout the evening, providing plenty of opportunity for guests to move around the room from table to table. Large group or practice bookings will be seated together at one of the long tables on the night. Any number of tickets can be purchased in one registration; we suggest one contact person from your organisation register and purchase tickets for the group to ensure you are seated together. If you wish to be seated with other groups, please make comment in the appropriate field when purchasing tickets.  Special Dietary/Access Requirements Please inform us of any special dietary or access requirements when purchasing tickets under Special Requests or email before Friday 16 June 2017.    Venue Facilities Designated taxi rank Merivale Street Main Entrance, taxi drop off area at Grey Street Entrance Russell Walk connects pedestrians between Merivale and Grey Street Car Park 2 & 3 are best for the Plaza Ballroom via Russell Walk  All public areas of the Centre can be accessed by wheelchair.  Disabled car parking is also available at the Centre    I am having trouble booking my tickets If you are experiencing difficulties with the online registration system, please contact the QLD Chapter Office on 07 3828 4100 and we can assist you with the process.   When can I collect my tickets? Nametags will be available on the night and will act in place of a ticket.  When purchasing your tickets, please ensure you enter each guest’s names (and companies) as you would like them to appear on the nametag.        

at Brisbane Convention & Exhibition Centre
Merivale Street
Brisbane, Australia

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Argentine Tango Dinner Show

Argentine Tango Dinner Show
Event on 2017-06-23 19:30:00
Argentine Tango Dinner Show: Fiery Moves & Flavorful Food

Experience the delicacies and delights of Argentine culture without ever leaving home as you watch an authentic and passionate Argentine tango dance show and enjoy a delicious three-course meal at Pampas Argentine Grill, named "Best Steakhouse in San Diego" by the San Diego Reader. Professional dancers Camille and Michael of the Positive Energy Dance Company will transport you to the romantic streets of Buenos Aires with their fiery moves. Please see the full event description for the dinner menu.

at Pampa’s Argentine Bar & Grill
8690 Aero Drive # 105
San Diego, United States

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The Oak Ridge Boys’ Christmas Celebration Tour 2017

The Oak Ridge Boys’ Christmas Celebration Tour 2017
Event on 2017-11-27 19:30:00

Tickets on Sale:
Starlight Members – June 21st
Members* and Season Ticket Holders – June 22nd
General Public – June 23rd

Find out how to become a Member 
*0 level members and higher.  Limitations apply

Country Music Hall of Fame members The Oak Ridge Boys have been a part of their fans’ holiday seasons for over 25 years with a mixture of traditional and contemporary songs—including religious, romantic and fun holiday tunes which includes songs from the Oaks’ six bestselling Christmas CDs.

  • Theirs is one of the most distinctive and recognizable sounds in the music industry. The four-part harmonies and upbeat songs of The Oak Ridge Boys have spawned dozens of Country hits and a Number One Pop smash, earned them Grammy, Dove, CMA, and ACM awards and garnered a host of other industry and fan accolades. Every time they step before an audience, the Oaks bring four decades of charted singles, and 50 years of tradition, to a stage show widely acknowledged as among the most exciting anywhere. And each remains as enthusiastic about the process as they have ever been.

    “When I go on stage, I get the same feeling I had the first time I sang with The Oak Ridge Boys,” says lead singer Duane Allen. “This is the only job I've ever wanted to have.”

    “Like everyone else in the group,” adds bass singer extraordinaire, Richard Sterban, “I was a fan of the Oaks before I became a member. I’m still a fan of the group today. Being in The Oak Ridge Boys is the fulfillment of a lifelong dream.”

    The two, along with tenor Joe Bonsall and baritone William Lee Golden, comprise one of Country's truly legendary acts. Their string of hits includes the Country-Pop chart-topper Elvira, as well as Bobbie Sue, Dream On, Thank God For Kids, American Made, I Guess It Never Hurts To Hurt Sometimes, Fancy Free, Gonna Take A Lot Of River and many others. In 2009, they covered a White Stripes song, receiving accolades from Rock reviewers. In 2011, they rerecorded a thirtieth anniversary version of Elvira for a Cracker Barrel Old Country Store project.

    The group has scored 12 gold, three platinum, and one double platinum album—plus one double platinum single—and had more than a dozen national Number One singles and over 30 Top Ten hits.

    Gospel Music Roots
    The Oaks represent a tradition that extends back to World War II. The original group, based in Knoxville, Tennessee, began performing Country and Gospel music in nearby Oak Ridge where the atomic bomb was being developed. They called themselves the Oak Ridge Quartet, and they began regular Grand Ole Opry appearances in the fall of ‘45. In the mid-fifties, they were featured in Time magazine as one of the top drawing Gospel groups in the nation.

    By the late ‘60s, with more than 30 members having come and gone, they had a lineup that included Duane Allen, William Lee Golden, Noel Fox, and Willie Wynn. Among the Oaks’ many acquaintances in the Gospel field were Bonsall, a streetwise Philadelphia kid who embraced Gospel music; and Sterban, who was singing in quartets and holding down a job as a men’s clothing salesman. Both admired the distinctive, highly popular Oaks.

    “They were the most innovative quartet in Gospel music,” says Bonsall. “They performed Gospel with a Rock approach, had a full band, wore bell-bottom pants and grew their hair long…things unheard of at the time.”

    The four became friends, and when the Oaks needed a bass and tenor in ‘72 and ’73, respectively, Sterban and Bonsall got the calls. For a while, the group remained at the pinnacle of the Gospel music circuit. It was there they refined the strengths that would soon make them an across-the-board attraction.

    “We did a lot of package shows,” says Bonsall. “There was an incredible amount of competition. You had to blow people away to sell records and get invited back.”

    Their Gospel sound had a distinct Pop edge to it and, although it made for excitement and crowd appeal, it also ruffled purist feathers and left promoters unsure about the Oaks’ direction. Then in 1975, the Oaks were asked to open a number of dates for Roy Clark. Clark’s manager, Jim Halsey, was impressed by their abilities.

    “He came backstage and told us we were three-and-a-half minutes (meaning one hit record) away from being a major act,” says Bonsall. “He said we had one of the most dynamic stage shows he’d ever seen but that we had to start singing Country songs.”

    They took his advice and the result was a breakthrough.

    “Those who came to Country music with or after the New Traditionalists of the mid-eighties cannot possibly imagine the impact the Oaks had in 1977, when they lit up the sky from horizon to horizon with Y’All Come Back Saloon,” wrote Billboard’s Ed Morris. He added, “…the vocal intensity the group brought to it instantly enriched and enlivened the perilously staid Country format. These guys were exciting.”

    The Oaks branch out
    Their career has spanned not only decades, but also formats. In 1977, Paul Simon tapped the Oaks to sing backup for his hit Slip Slidin’ Away, and they went on to record with George Jones, Brenda Lee, Johnny Cash, Roy Rogers, Billy Ray Cyrus, Bill Monroe, Ray Charles and even Shooter Jennings, the son of their old friend Waylon Jennings and Jessi Colter. Most recently, the group recorded a duet with Merle Haggard for their 2015 Rock of Ages hymns and Gospel favorites album.

    They produced one of the first Country music videos. In 1977, Easy, although not released in the U.S., reached the Number Three slot in Australia. They participated in the first American popular music headline tour in the USSR.

    The Oak Ridge Boys have appeared before five presidents. And they have become one of the most enduringly successful touring groups anywhere, still performing some 150 dates each year at major theaters, fairs, and festivals across the U.S. and Canada.

    They did it with a consistently upbeat musical approach and terrific business savvy.

    “We always look for songs that have lasting value and that are uplifting,” says Allen, who co-produced many of the Oaks’ recent studio albums. “You don’t hear us singing ‘cheating’ or ‘drinking’ songs, but ‘loving’ songs, because we think that will last. We also don‘t put music in categories, except for ‘good’ or ‘bad.’ When we get through with it, it’s probably going to sound like an Oak Ridge Boys song no matter what it is.”

    They proved their business acumen in any number of ways, including such steps as declining the chance to sit on the couch during their many appearances on the Tonight Show.

    “We said, ‘If you‘re going to give us four minutes on the couch with Johnny, we’d rather have four minutes to give you another song that lets people know what got us here,’” says Allen. “We didn’t get here talking; we got here singing.”

    They also proved themselves to be capable and tireless advocates of charitable and civic causes, serving as spokesmen and/or board members of fundraisers for the Boy Scouts of America, the National Committee for Prevention of Child Abuse (now, Prevent Child Abuse America), Feed The Children, the National Anthem Project and many more.

    The group’s first personnel change in many years occurred in 1987 when Steve Sanders, who had been playing guitar in the Oaks Band, replaced William Lee as the baritone singer. Late in ‘95, Steve resigned from the Oaks and exactly one minute after midnight on New Year’s Eve, Duane, Joe and Richard surprised a packed house at the Holiday Star Theatre in Merrillville, Indiana, by welcoming William Lee on stage and back into the group. The hit makers were finally together again!

    The Oaks’ high-energy stage show remains the heart and soul of what they do, and they refine it several times a year, striving to keep it fresh well into the future.

    “We‘re not willing to rest on our laurels,” Golden says. “That gets boring. As a group, we do things constantly to challenge ourselves, to try to do something different or better than the last time we did it.”

    “I feel like I can do what I do on stage just as good now as I could 20 years ago,” says Bonsall. “I plan to be rockin’ my tail off out there as long as I’m healthy. The people who come out, who bring their families to see us, deserve everything I’ve got.”

    “We’ve experienced a lot of longevity,” adds Sterban. “I think the reason is the love we have for what we do—the desire, the longing to actually get up there and do it. We love to sing together…to harmonize together. It’s what our lives are all about.”

    “Back” to the future
    In 2009, the group recorded a CD, The Boys Are Back, with 34-year- old, Pop-Rock producer Dave Cobb. Cobb encouraged them to stretch musically.

    “Seven Nation Army was Dave’s first idea out of the shoot. He said he envisioned us singing where The White Stripes and Jack White do the instrumental parts. It turned out incredibly well,” Bonsall says. “The project is diverse and includes an old spiritual from the Smithsonian archives, God’s Gonna Ease Your Troublin’ Mind, as well as a new Jamey Johnson-penned, soon-to-be- classic called Mama’s Table.”

    The Oaks’ new music attracted the attention of a younger audience, while reminding dedicated fans that their favorite group is ever-evolving.

    “When we throw those songs at the audience, it's fun to watch their reaction. The cool thing is they're loving it.” Bonsall says. “We don't give it any introduction; we just go straight into each song. We did Seven Nation Army in Minnesota a few weeks ago and got a standing ovation. The younger kids in the audience were freaking out.”

    Duane Allen, who is Executive Producer for the project, adds, “We went to California to get a Rock and Roll producer who brought us back home to the very roots of our music, which is Gospel mixed with Country, Blues, and Rock and Roll.”

    Golden describes the new project as a “musical journey.”

    Sterban agrees. “I think David took us down some roads we might not have traveled on our own. The music may be different but he did not try to change us, he challenged us.”

    Many have labeled the Oaks’ path as one similar to what Johnny Cash traveled with producer Rick Rubin. The Oak Ridge Boys find that analogy appropriate, almost sentimental, because Cash was one of their earliest supporters and a longtime friend.

    “Back when we were struggling in the early 1970’s, Johnny Cash encouraged us. He booked us on his show in Las Vegas, and he paid us too much money. But his belief in us was the most important thing. He sat us down and told us, ‘Boys, you think it’s rough right now, but there’s magic in the four of you. I can feel that magic. I know there is magic there. Don’t break up.’”

    And the rest is history.

    It’s Only Natural
    In 2011, Cracker Barrel Old Country Store asked The Oak Ridge Boys to record an album with a blend of previously recorded and brand new songs. The result was It’s Only Natural, a twelve-track CD with seven rerecorded hits, including the group’s multi-platinum, Country-Pop hit Elvira, and five new songs.

    Veteran Oaks’ producer Ron Chancey returned to the studio with the group to produce Elvira and two new songs, and the team of Duane Allen and Michael Sykes reunited to produce the remaining nine. The album debuted on September 19, a month after the Oaks were inducted into the Grand Ole Opry.

    While the combination of Oak Ridge Boys and Cracker Barrel is “only natural,” the Oaks stretched—yet again—and invited YouTube sensation Keenan Cahill to join them on what would become a viral music video for their first single from the project. What’cha Gonna Do? was released to country radio in November 2011 and received widespread acceptance on national grass roots and Music Row charts.

    In early 2014—forty-one years after Duane, Joe, Richard, and William Lee first stepped onstage together as a group—they celebrated 41 million, RIAA- certified records sold by signing a new record deal with Los Angeles-based Cleopatra Records. Their first release from Cleopatra, Boys Night Out, is a 14- song live project, which was released April 15, 2014. It’s the first live country hits recording ever to be released by The Oak Ridge Boys as they continue to make history.

    That history will now forever be enshrined in the hallowed halls of the Country Music Hall of Fame in Nashville, Tennessee, where The Oak Ridge Boys—Duane Allen, Joe Bonsall, William Lee Golden, and Richard Sterban—were inducted on October 25, 2015.

    Few Country Music groups have had the enduring popularity, cultural significance or crossover success of The Oak Ridge Boys, a vocal harmony quartet that started out in traditional country and gospel during World War II and evolved with the times to help popularize and modernize Country Music far beyond traditional genre and regional lines.

    The group went through numerous lineup changes in its early decades before Duane Allen, Joe Bonsall, William Lee Golden, and Richard Sterban took control in the 1960s and early 1970s and turned it into a dynamic Country Music force. The alignment focused on high-energy vocal harmonies that brought crowds to their feet with increasingly secular music and a look and attitude that more accurately reflected the times, characterized by Golden’s still-magnificent flowing beard and fur coats.

    The Oaks’ contemporary look, and their increasing focus on modern Country suggested by Jim Halsey, who would soon become their career manager, didn’t sit well with traditionalists, and the group struggled for a few years in the early 1970s. It wasn’t until the release of the 1977 album Y’All Come Back Saloon that the Oaks hit the right formula, and when they did their popularity soared.

    They landed their first No. 1, “I’ll Be True To You,” in 1978 and, perhaps just as significantly, Paul Simon asked the group to sing backup on what would become his hit “Slip Slidin’ Away,” opening the door to the pop world for them. Simon wasn’t the only one to lean on their harmony. They accompanied Brenda Lee on her Grammy Award-nominated “Broken Trust” (1980); George Jones on his Country smash “Same Ole Me” (1982); and they also have harmonized behind Johnny Cash, Ray Charles, Billy Ray Cyrus, Bill Monroe and Leon Russell, among many others.

    National audiences learned the joy of the Oaks’ harmonies when the group’s biggest hit, 1981’s “Elvira,” became a crossover pop smash with bass singer Sterban’s unforgettable “oom papa oom papa mau mau” refrain. The song brought them one of their five Grammy Awards, went double Platinum and helped bring much-needed fun to a genre that had a reputation for weepers and hard times.

    The inescapable “Elvira” propelled the Oaks’ 1981 album Fancy Free to double Platinum. They followed a year later with another crossover hit, “Bobbie Sue,” and the album of the same title went Gold, as have many others in the group’s catalog. Their 1980 and 1984 Greatest Hits albums are Platinum. All in all, the current lineup has scored 17 No. 1 hits, released more than 40 albums, and achieved sales greater than 41 million albums.

    The Oaks’ classics include “Trying To Love Two Women,” “Beautiful You,” “Fancy Free,” “I Guess It Never Hurts To Hurt Sometimes,” “Make My Life With You,” “Touch A Hand, Make A Friend,” and “It Takes A Little Rain (To Make Love Grow).”

    The Oak Ridge Boys’ “American Made” became a national ad jingle. Their “Thank God For Kids” is considered a Country standard. And their recording of “Leaving Louisiana In The Broad Daylight” helped launch the songwriting career of Rodney Crowell.

    The group also helped open the doors for Country Music on network television, with a number of nationally-televised concerts, including HBO and PBS specials, and as hosts and performers on prime time. They hosted their own series, The Oak Ridge Boys Live From Las Vegas, for TNN in the late 1990s.

    The quartet is one of the most enduring in music and had a long history and dozens of members before the tenures of Allen (born April 29, 1943 in Taylortown, Texas), Bonsall (born May 18, 1948 in Philadelphia), Golden (born January 12, 1939 in Brewton, Ala.) and Sterban (born April 24, 1943 in Camden, N.J.) began. Founder Wally Fowler started the group in 1943 in Knoxville, Tenn., as part of The Georgia Clodhoppers. They were hired to perform for the restricted staff and their families at the nearby Oak Ridge nuclear research facility. They appeared there so often, they eventually changed their name to the Oak Ridge Quartet in 1945, the year they began performing on the Grand Ole Opry.

    The Oak Ridge Boys – the rebranded group – have received 15 CMA Awards nominations and won two: Vocal Group of the Year in 1978 and Single of the Year in 1981 for “Elvira” (the group’s backing band won CMA Instrumental Group of the Year in 1978 and 1986). The Oaks were inducted into the Gospel Music Hall of Fame in 2000. Bonsall and Sterban were inducted into the Philadelphia Music Alliance Walk of Fame in 1994. Golden received the Alabama Music Hall of Fame’s Life Work Award for Performing Achievement in 1997. And Duane Allen was honored with induction into the Texas Country Music Hall of Fame last year.

    The Oak Ridge Boys have participated in decades of philanthropic endeavors including Feed the Children, the Boy Scouts of America and the National Committee for the Prevention of Child Abuse.

at Mayo Performing Arts Center
100 South Street
Morristown, United States

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Broken Reignz

Broken Reignz
Event on 2017-06-23 21:00:00
Bring their brand of country,southern and Classic rock.

at Billy’s Barn
1790 Thompson Memorial Dr
Salem, United States

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Enduro Rush

Enduro Rush
Event on 2017-06-23 00:00:00
In the wake of achieving the lines, it demonstrates that the Enduro Rush is not a genuine pumping variable, but rather a nourishment supplement which is powerful to the point that its utilization in testosterone pumping is the outcome. In addition, it happens. By changing the supplement, it goes as a male body when it goes about as a hormone increment. The component of testosterone pumping is because of adjusting of various fixings. These herbs are not chosen on irregular or some continuation. Herbs are raised on the premise of their support, offer individuals who meet the sexual wellbeing benchmarks. From here, what is the contrast between Enduro Rush from others that respect ought to be through the freed of logical strategy. Natural choice implies that the brand called for enhancing general wellbeing will get the potential nourishment supplements, aside from any determinations of male generation framework. Recipe depends on Enduro Rush, to enhance all organs and body parts that are in charge of the generation of testosterone. These incorporate cerebrum, patiolet, and part of the examination. Also, general body spares benefits. Something else that stances emphatically from its own partners, chemicals, channels, and comparative bizarre nearness. As per every single characteristic source it will acknowledge the body and the supplement will have the capacity to recognize half a month of customary admission.Click here http://www.greathealthreview.com/enduro-rush/

at Enduro Rush
Los Angeles, United States

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Opera Saratoga 2017 Summer Festival presents Beauty and the Beast

Opera Saratoga 2017 Summer Festival presents Beauty and the Beast
Event on 2017-07-02 19:30:00
Opera Saratoga 2017 Summer Festival presents
Zémire et Azor (Beauty and the Beast)
Music by André Grétry; Libretto by Jean François Marmontel
New Production: Directed by James Ortiz; Conducted by Lidiya Yankovskaya
Featuring: Maureen McKay, Lisa Rogali, Katherine Maysek,
Andrew Bidlack, Keith Jameson and Christopher Burchett
July 2 at 7:30pm, July 8 & 14 at 2pm

Saratoga Springs, NY – Opera Saratoga's Artistic and General Director Lawrence Edelson announced today complete casting for the three exciting new productions that will comprise the company's 2017 Summer Festival, which will build on the company's commitment to producing masterpieces from the operatic cannon, important American works, and works in which dance plays an integral role. In addition, a wide variety of free and ticketed concert events will be presented from May 28th through July 16th at venues throughout the region.

At the center of the 2017 Summer Festival will be a new production of Marc Blitzstein's The Cradle Will Rock, directed and choreographed by Edelson, and conducted by noted Maestro John Mauceri (company debut), who has been responsible for many significant operatic restorations, including Blitzstein's Regina.  The Cradle Will Rock has been almost exclusively produced with piano since its infamous opening night, which was shut down by the Federal Government in 1937. Both an attack on the abuse of political power by the wealthy and a paean to labor and poor people struggling to get by, "Cradle" is as timely now as it was when it premiered in 1937. Opera Saratoga celebrates the 80th Anniversary of Blitzstein's revolutionary American labor opera in a new production that will be performed with Blitzstein's original orchestrations – the first such performances since the 1960 production at New York City Opera.  Featured artists include mezzo soprano Ginger Costa-Jackson  (company debut) as Moll; bass Matt Boehler (company debut) as Mr. Mister; mezzo soprano Audrey Babcock as Mrs. Mister; tenor Keith Jameson (company debut) as Harry Druggist; baritone Christopher Burchettas Larry Foreman; and bass baritone Justin Hopkins as Reverend Salvation. 
The first opera production of the season will open on July 1st with Verdi's comic masterpiece, Falstaff, which has not been seen at Opera Saratoga in 26 years. The production will be directed by Chuck Hudson, and will be conducted by Craig Kier (company debut). Featured singers will include bass baritone Craig Colclough (company debut), one of the country's leading interpreters of Falstaff; soprano Caroline Worra in her role debut as Alice Ford; soprano Emily Tweedy (company debut) as Nannetta; mezzo soprano Vera Savage as Meg Page; contralto Lindsay Ammann (company debut) as Dame Quickly; Dominick Corbacio as Fenton; and baritone Michael Chioldi(company debut) as Ford.
Rounding out the season will be André Grétry's Zémire et Azor (Beauty and the Beast), directed by James Ortiz (company debut), whose recent critically acclaimed production of The Woodsman was a sensation off-Broadway. Grétry's 1771 opera-ballet – a favorite of Mozart – will incorporate both dance and Ortiz's signature use of puppetry in his opera-directing debut. The production will be conducted by Lidiya Yankovskaya (company debut), and choreographed by Jill Echo (company debut). The cast will feature soprano Maureen McKay (company debut) and tenor Andrew Bidlack (company debut) in the title roles; with soprano Lisa Rogali (company debut) as Fatmé; mezzo soprano Katherine Maysek (company debut) as Lisbé; tenor Keith Jameson as Ali and baritone Christopher Burchett as Sander.
In making the announcement today, Edelson reflected on the power of opera to tell vivid and compelling stories through music in very different ways. "The Cradle Will Rock is an incredibly powerful work that I feel has been unjustly neglected by opera companies. It's edgy combination of social commentary and popular culture of the time has influenced writers and works from Leonard Bernstein's On the Town to Lin-Manuel Miranda's Hamilton.  While 'Cradle' has understandably become a favorite of theater companies due to the ability to perform it with just piano, Blitzstein's original orchestration is exhilarating and deserves to be heard. We have put together a cast of some of the country's most exciting singers to provide a fresh look at this American masterpiece that takes on particular resonance in light of the political climate in which we are living in today.
"Alongside 'Cradle' we will be presenting Grétry's enchanting version of Beauty and the Beast, which builds on our commitment to present works that incorporate dance each season;and one of the greatest works in the operatic repertoire, Verdi's Falstaff.   In addition to our three opera productions, Opera Saratoga will present a wide variety of free and ticketed concerts throughout the season, including a celebration of the music of Marc Blitzstein; a Gilbert & Sullivan Cabaret; a concert featuring scenes from the final operas by beloved composers from throughout history; and a retrospective of Broadway music from the 1930s. It is season that will showcase incredible music, phenomenal singing, and riveting theater – performed by preeminent artists from the world's great opera houses alongside some of the most exciting emerging artists in the country – providing local audiences and visitors to Saratoga Springs alike with extraordinary experiences in our intimate theater in Saratoga Spa State Park."
Subscriptions for the 2017 Summer Festival are on sale now at www.operasaratoga.org.  Single tickets for the 2017 Summer Festival will go on sale February 15th, 2017.

Music by Giuseppe Verdi; Libretto by Arrigo Boito
Sung in Italian with English Supertitles
SAT        THU      MON      SAT
JULY   1     /   6    /  10   /  15
7:30pm   7:30pm   2:00pm   2:00pm

A man of many appetites, the lecherous Falstaff can't resist his favorite vices: food, wine, and women – and not necessarily in that order! Suddenly finding himself broke, he hatches a plot to cure his woes – he sends identical love letters to two married women to get his hands on their wealthy husbands' money. But Falstaff doesn't bank on getting caught, and with the help of some 'merry wives', husbands and supernatural creatures, he gets his due and finds out the joke is on him. Bass-baritone Craig Colclough makes his Opera Saratoga debut with his interpretation of Falstaff, "creating a multi-faceted musical and comical character with an overwhelming sense of fun." – Washington Post
Conductor: Craig Kier
Director: Chuck Hudson
Scenic Designer: Martin T. Lopez
Costume Designer: CeCe Sickler
Lighting Designer: Brandon Stirling Baker
Sir John Falstaff: Craig Colclough
Alice Ford: Caroline Worra
Ford: Michael Chioldi
Nanetta: Emily Tweedy*
Fenton: Dominick Corbacio+
Dame Quickly: Lindsay Ammann
Meg Page: Vera Savage+
Dr. Caius: Max Jacob Zander*
Bardolfo: Michael Anderson*
Pistola: Jorgeandrés Camargo*
* Members of Opera Saratoga's Young Artist Program
+ Alumni of Opera Saratoga's Young Artist Program
Music by André Grétry; Libretto by Libretto by Jean François Marmontel
Sung in French with English Supertitles

SUN          SAT       FRI
JULY   2     /    8    /  14   
7:30pm     2:00pm     2:00pm
Once upon a time, the merchant Sander and his servant Ali are shipwrecked in a storm and find themselves outside an enchanted palace. When Sander plucks a rose from the palace garden to give to his daughter Zémire, the beast-like Azor appears, demanding that Sander pay with his life for stealing the rose, unless he can persuade one of his daughters to take his place. When she hears what has happened, Zémire agrees to sacrifice her life for her father and Ali brings her to the palace, where she almost faints at the sight of Azor. But Azor proves to be a kind host, and Zémire begins to see beyond his terrifying exterior.  One of the earliest operatic adaptations of the classic story of Beauty and the Beast, Zémire et Azor combines beautiful melodies with enchanting dance music in a fairy-tale for audiences of all ages. Opera Saratoga's new production will be directed by James Ortiz, whose innovative use of elaborate puppetry has been compared to the legendary Jim Henson.
Conductor: Lidiya Yankovskaya
Director: James Ortiz
Choreographer: Jill Echo
Scenic and Puppet Designer: James Ortiz
Costume Designer: Shima Orans
Lighting Designer: Brandon Stirling Baker

A Co-Production with Skylight Music Theatre, Milwaukee, WI
Zémire: Maureen McKay
Azor: Andrew Bidlack
Sander: Christopher Burchett
Ali: Keith Jameson
Fatmé: Lisa Rogali*
Lisbé:  Katherine Maysek*
* Members of Opera Saratoga's Young Artist Program
Music, Book and Lyrics by Marc Blitzstein
Performed in English
SUN           TUE        THU       SUN
JULY   9     /    11   /  13   /  16
7:30pm     2:00pm    7:30pm    2:00pm
In Steeltown, USA, everything and everyone can be bought – at least that's what Mr. Mister thinks. The greedy businessman uses his wallet to control anyone he wants, including the local newspaper editor, preacher, university president, doctor… even the artists! But Larry Foreman's efforts to unionize local workers threatens to rock the cradle and shift the balance of power out of Mr. Mister's control.  An allegory on corruption and corporate greed both timely and timeless, The Cradle Will Rock's biting humor and brazenness is as impactful now as it was when it premiered in 1937. Blitzstein's eclectic, jazzy score is a propulsive mix of classical parody, popular melodies, and dramatic ensemble numbers, with a smoky flavor redolent of Kurt Weill – but all-American in its raw energy and urgency.
Conductor: John Mauceri
Director and Choreographer: Lawrence Edelson
Scenic Designer: Martin T. Lopez
Costume Designer: Anya Klepikov
Lighting Designer: Brandon Stirling Baker
Moll: Ginger Costa Jackson
Mr. Mister: Matt Boehler
Mrs. Mister: Audrey Babcock
Larry Foreman: Christopher Burchett
Harry Druggist: Keith Jameson
Junior Mister: Spencer Viator*
Sister Mister: Heather Jones*
Reverend Salvation: Justin Hopkins
Editor Daily: Brian Wallin*
Yasha: John Tibbetts*
Dauber: Scott Purcell*
Doctor Specialist: Jorgeandrés Camargo*
President Prexy: Eric McConnell*
Professor Mamie: Adam Bradley*
Professor Scoot / Steve: Miles Herr*
Professor Trixie/Gus Pollock: Michael Anderson*
Sadie Pollock: Meghan Kasanders*
Ella Hammer: Nina Spinner*
Gent/Bugs: Andy Papas*
Dick: Efraín Solís
Cop: Dylan Elza*
* Members of Opera Saratoga's Young Artist Program
Saturday, May 27, 7:30pm
Free Concert
Filene Recital Hall at Skidmore College
815 North Broadway, Saratoga Springs, NY
The season begins with Opera Saratoga's third annual Stars of Tomorrow Concert – featuring 24 singers from around the country who have been selected from almost 1,000 applicants to be members of Opera Saratoga's prestigious Young Artist Program. Presented in partnership with Skidmore College.  
Saturday, June 3, 2:00pm
Free Concert
The Dee Sarno Theater at Saratoga Arts
320 Broadway, Saratoga Springs, NY
What do Mozart's Die Zauberflöte, Rossini's Guillaume Tell, Puccini's Turandot. and Bizet's Carmen have in common with Verdi's Falstaff? They were the final operas – the swan songs – of some of the world's most beloved composers. This free concert will feature arias and ensembles from the final operas by composers from Monteverdi to Richard Strauss! Presented in partnership with Saratoga Arts.
Friday, June 16, 7:30pm
Free Concert
GE Theatre at Proctors
432 State Street, Schenectady, NY
Born in Philadelphia in 1905, Marc Blitzstein achieved nearly overnight notoriety with his 1937 agitprop musical theater work, The Cradle Will Rock. At the time of his unexpected and tragic death in 1964, much of his work was left unfinished and unpublished, leaving behind a legacy that has been largely overlooked in the ensuing decades. On the evening of the 80th Anniversary of the legendary world-premiere of The Cradle Will Rock, Opera Saratoga presents an evening of song by Marc Blitzstein, curated and hosted by bass-baritone Justin Hopkins. The program will include excerpts from Blitzstein's theatrical and operatic works – including The Cradle Will Rock, I've Got the Tune, Juno, No for an Answer, and Regina – as well as lesser known songs that chronicle the life of one of America's most influential composers. Presented in partnership with Proctors. 

Sunday, June 11, 2pm and 7:30pm
Ticketed Event (Tickets: ; Subscribers: )
The Carriage House at The Mansion Inn 
801 Route 29, Rock City Falls, NY 
(10 minutes from downtown Saratoga Springs)
The Victorian era partnership of W.S. Gilbert and Arthur Sullivan brought the world fourteen of the most beloved operettas of all time. Join Opera Saratoga's "wand'ring minstrels' for a topsy-turvy cabaret where fairies rub elbows with British lords, flirting is a capital offense, gondoliers ascend to the monarchy, and pirates emerge as noblemen who have gone astray. Seating is general admission, at cabaret style tables, and is strictly limited for these two concerts. G&S inspired tapas and drinks – specially concocted by The Mansion Inn's Cordon Bleu trained Executive Chef Rick Bieber – will be available for purchase. Presented in partnership with The Mansion Inn. 
Friday, July 14, 7:30pm
Ticketed Event (Tickets: //; Subscribers: //)
The Spa Little Theater
21 Roosevelt Drive, Saratoga Springs, NY
The '30s were extraordinary years on Broadway, where jazz, classical and popular music intertwined to create some of the most memorable and beloved shows of the 20th century – as well as some fascinating musicals that have been lost to time, but deserve to be better known. Gershwin's Girl Crazy, Of Thee I Sing, and Porgy and Bess; Cole Porter's Gay Divorce, Nymph Errant, Anything Goes and Red, Hot and Blue; Rodgers's Jumbo, On Your Toes, Babes in Arms, and The Boys from Syracuse, Weill's Johnny Johnson and Knickerbocker Holiday; and of course, Blitzstein's The Cradle Will Rock, were all products of this incredible decade on the Great White Way. Members of Opera Saratoga's acclaimed Young Artist Program will be featured in this evening of music that defined a decade and forever changed the course of American musical theater and opera.

Emerging American Conductor Craig Kier has already received high praise for his "Tesla-like intensity" and "impeccable orchestral support" while leading performances throughout the United States and on international stages. In the 2014-2015 season, Maestro Kier become the Director of the Maryland Opera Studio at The University of Maryland School of Music. Productions since the beginning of his tenure have included Mozart's Don Giovanni and Così fan tutte, Ravel's L'enfant et les sortilèges, Blitzstein's Regina and Rossini's L'occasione fa il ladro. In the 2015 – 2016 season, guest engagements for Maestro Kier included his debut with Wolf Trap Opera leading Britten's Rape of Lucretia, and a return to Opera Birmingham for La traviata. He also continued his longstanding relationship with Houston Ballet, leading performances of The Nutcraker, which he has done since 2011. Engagements in the upcoming 2016-2017 season include Madama Butterfly in his debut at Arizona Opera, his debut with Opera Saratoga leading Verdi's Falstaff, and performances of The Nutcracker with Houston Ballet. As Director of the Maryland Opera Studio, he will lead productions of The Rape of Lucretia, Gluck's Orfeo ed Euridice, and Offenbach's Orpheus in the Underworld. From 2010 – 2013, Maestro Kier was Associate Conductor under Patrick Summers at Houston Grand Opera. During his time with the company he led dozens of performances including Madama Butterfly, Il barbiere di Siviglia, Die Fledermaus, Trial by Jury and the world premiere of Huang Ruo's Bound. He also assisted on productions of Otello, Rigoletto, Il trovatore, Don Carlos, La traviata, Le nozze di Figaro and Lucia di Lammermoor. Guest engagements for Maestro Kier include La bohème with Lyric Opera of Kansas City, Il barbiere di Siviglia with Atlanta Opera, Kurt Weill's Lost in the Stars at Glimmerglass Festival, Thomas' Hamlet with Opera Birmingham, L'italiani in Algeri with Opera Santa Barbara and The Music Man at Royal Opera House Muscat, Oman. In the summer of 2013 he served as Assistant Conductor on The Santa Fe Opera's production of La donna del lago starring Joyce DiDonato and Lawrence Brownlee. Maestro Kier began his career as part of Seattle Opera's music staff, serving in a variety of roles including Assistant Conductor, Coach/Accompanist, and Chorus Master. He has since served on the music staffs of The Santa Fe Opera, Cincinnati Opera, Atlanta Opera, Opera Colorado and Des Moines Metro Opera.
John Mauceri, world-renowned conductor, educator and writer, has appeared with the world's greatest opera companies and symphony orchestras, on the musical stages of Broadway and Hollywood as well as at the most prestigious halls of academia. Mr. Mauceri served as music director (direttore stabile) of the Teatro Regio in Turin, Italy for three years after completing seven years (22 productions and three recordings) as music director of Scottish Opera, and is the first American ever to have held the post of music director of an opera house in either Great Britain or Italy. He was music director of the Washington Opera (The Kennedy Center) as well as Pittsburgh Opera, and was the first music director of American Symphony Orchestra in Carnegie Hall after its legendary founding director, Leopold Stokowski, with whom he studied. For fifteen years he served on the faculty of his alma mater, Yale University and returned in 2001 to teach and conduct the official concert celebrating the university's 300th anniversary. In 2016, he celebrated the 50th anniversary of the Yale Symphony, which he helped to found, with concerts in New Haven and at Carnegie Hall. For 18 years, Mr. Mauceri worked closely with Leonard Bernstein and conducted many of the composer's premieres at Bernstein's request. He is the Founding Director of the Hollywood Bowl Orchestra, which was created for him in 1991 by the Los Angeles Philharmonic Association. Breaking all records at the Bowl, he conducted over 300 concerts at the 18,000-seat amphitheater with a total audience of four million people. For seven years (2006-2013) he served as chancellor of the University of North Carolina's School of the Arts, America's first public arts conservatory-university. He has conducted at New York's Metropolitan Opera, London's Royal Opera House (Covent Garden), Milan's Teatro alla Scala, Berlin's Deutsche Oper, the New York Philharmonic, the Chicago Symphony Orchestra, the Boston Symphony Orchestra, all the major London orchestras, as well as l'Orchestre Nationale de France and the Tokyo Philharmonic. On Broadway, he was co-producer of On Your Toes and served as musical supervisor for Hal Prince's production of Candide, as well as Andrew Lloyd Webber's Song and Dance with Bernadette Peters. He also conducted the orchestra for the film version of Evita. Deeply committed to preserving two American art forms, the Broadway musical, and Hollywood film scores, he has edited and performed a vast catalogue of restorations and first performances, including a full restoration of the original 1943 production of Rodgers & Hammerstein's Oklahoma!, performing editions of Gershwin's Porgy & Bess, Girl Crazy and Strike up the Band, Bernstein's Candide and A Quiet Place, Blitzstein's Regina, and film scores by Miklos Rozsa, Franz Waxman, Erich Wolfgang Korngold, Max Steiner, Elmer Bernstein, Jerry Goldsmith, Danny Elfman and Howard Shore.  As one of two conductors in Decca Records' award-winning series "Entartete Musik," Mauceri made a number of historic first recordings of music banned by the Nazis. The intersection of the "degenerate composers" of Europe and the refugee composers of Hollywood is the subject of much of his research and his writings. In addition, Mr. Mauceri has conducted significant premieres of works by Verdi, Debussy, Hindemith, Ives, Stockhausen, Blitzstein, and Weill. In articles, speeches, radio and television appearances, John Mauceri has taken his passion for music and the importance of the arts to audiences throughout the world. These include Harvard University, Yale University, the Smithsonian Institution, the NEA, the Academy of Motion Picture Arts and Sciences, Gramophone Magazine, NPR, BBC, PBS, the New York Times, the Los Angeles Times, and the Huffington Post where he regularly writes a blog. Mr. Mauceri is one of the world's most accomplished recording artists, having released over 75 audio CDs and is the recipient of Grammy, Tony, Olivier, Drama Desk, Edison Klassiek, 3 Emmy Awards, 2 Diapasons d'Or, Cannes Classique, ECHO Klassik, Billboard, and four Deutsche Schallplatten awards. In 1999, Mr. Mauceri was chosen as a "Standard-bearer of the Twentieth Century" for WQXR, the America's most-listened-to classical radio station. According to WQXR, "These are a select number of musical artists who have already established themselves as forces to be reckoned with and who will be the Standard Bearers of the 21st Century's music scene." The recipients were chosen for "their visionary talent and technical virtuosity." In addition, CNN and CNN International chose Mr. Mauceri as a "Voice of the Millennium." Mr. Mauceri was recently awarded the Ditson Conductor's Award for his five decades of commitment to performing and editing American music. He is currently writing a book on the art and alchemy of conducting for Alfred A. Knopf. 
Russian-born conductor Lidiya Yankovskaya currently serves as Artistic Director with Juventas New Music Ensemble and as a conductor with Boston Youth Symphony Orchestra. Additional engagements this season include Flagstaff Symphony Orchestra, Beth Morrison Projects, American Lyric Theater, Brookline Symphony, Cabrillo Festival, the Center for Contemporary Opera in NYC, and serving as the Chorus Master for several upcoming programs with the Boston Symphony Orchestra and the Boston Pops. Lidiya is also a part of Marin Alsop's Taki Concordia Fellowship and Dallas Opera's Inaugural Institute for Women Conductors. Prior engagements include serving as Music Director of Harvard's Lowell House Opera and Commonwealth Lyric Theater, and as Assistant Conductor & Chorus Master with Opera Boston.  Lidiya was also a Conducting Fellow under Lorin Maazel at his Castleton Festival, where she assisted Maestro Maazel and regularly filled in for him in rehearsal and performance.  
Hailed by Pulitzer Prize winner for criticism Lloyd Schwartz as a "skillful and incisive musician," Lidiya's symphonic and operatic work has received critical acclaim and numerous awards. Recent projects include San Francisco productions of Boris Godunov and Iolanta with New Opera NYC; performances with National Sawdust's Composer in Residence program; Tchaikovsky's Queen of Spades and Britten's A Midsummer Night's Dream (first place, The American Prize) with Lowell House Opera; Juventas New Music's NEA-funded puppetry collaboration entitled Music in Motion; the world premiere performances and recording of the ballet HackPolitik; Rachmaninoff's Alekowith Commonwealth Lyric Theater (winner of National Opera Association Award for Best Production in the Professional Category), Rimsky-Korsakov's Snegurochka (the first fully-staged, Russian-language production of the opera in the U.S. and the work's New England premiere); and the world premiere of Isaac Schankler's Light and Power with Juventas (winner of The National Opera Association Award and The American Prize for best professional production).
The 2017 Summer Festival at Opera Saratoga will mark the third season under Lawrence Edelson's leadership as Artistic and General Director. As a stage director Lawrence's work has been praised for the ability to fuse vivid story telling with deeply expressive imagery. He has been praised by Opera Now magazine as doing a "splendid job of making [opera] relevant and understandable" and his productions have been called "ingenious" and "imaginative" by Opera News, "starkly vivid" by The New York Times, and "stunningly touching and entertaining" by the Washington Post. These diverse productions have included the American premiere of Telemann's Orpheus for Wolf Trap Opera, Philip Glass's Hydrogen Jukebox for Fort Worth Opera, La Traviata for The Minnesota Opera, Il Barbiere di Siviglia for Hawaii Opera Theater, Carmen for Toledo Opera, the world premiere of Buried Alive(Myers/Long) for Fargo Moorhead Opera, and the New York premiere of Fauré's rarely produced Pénélope for Manhattan School of Music. He was a guest member on the directing staff of New York City Opera, where he restaged Little Women twice: for the work's Lincoln Center premiere and for the company's tour to Japan. From 2008 to 2012, Lawrence was also a faculty member at the International Vocal Arts Institute in Tel Aviv, where he led seminars on American opera, and directed original productions of Little Women, A Midsummer Night's Dream, Werther, Ariadne auf Naxos, and Eugene Onegin. Before focusing on directing and arts administration, Lawrence enjoyed a performing career in both ballet and opera. He studied voice and musicology at The University of Ottawa and dance at The Joffrey Ballet School in New York City. As a dancer, he performed with Boston Ballet, Ballet West, and BalletMet Columbus. He has choreographed for ballet and opera companies around the country. As a singer, he appeared in opera, oratorio and musical theater internationally. Lawrence completed his master's degree in performing arts administration at New York University. In the opera field, Lawrence is perhaps best known as the founder of American Lyric Theater (ALT). As Producing Artistic Director at ALT, a position he continues to hold concurrent with his position at Opera Saratoga, he coordinates the company's diverse artistic programs including The Composer Librettist Development Program, commissioning of new works, and co-production relationships. Recent projects at ALT include the development of The Long Walk (Beck/Fleischmann), which premiered at Opera Saratoga in 2015; and JFK (Little/Vavrek), which premiered at Fort Worth Opera in 2016. A tireless advocate for emerging artists and the diversification of audiences for opera, Edelson has served on the Strategy Committee for OPERA America, and continues to forge collaborations with opera companies across the country.
Chuck Hudson has directed opera productions at major international companies including Cape Town Opera (South Africa), Cincinnati Opera, Florida Grand Opera, Minnesota Opera, Sacramento Opera, Austin Lyric Opera, Opera Cleveland, Seattle Opera, San Francisco Opera Center, Wolf Trap Opera, and Opera Santa Barbara, among others. He has directed award winning theatre productions in New York and regionally, including The Pearl Theatre, The Chester Theater, Cape May Stage, The Children's Theatre Festival of Houston, New City Theatre, and Chicago's Fox Valley Shakespeare Festival. Chuck's work as a director was mentioned in the January 2011 Edition of American Theatre Magazine. In the 2016-2017 season, Chuck will lead productions for Hawaii Opera Theatre (La bohème), Atlanta Opera (Don Pasquale) and Opera Saratoga (Falstaff). In addition to directing professional artists, Chuck continues to focus on his work with artists in training. He was a co-creator of Seattle Opera's Young Artist Program where he directed productions as well as created and instructed specialized classes on Acting and Movement for singers. Chuck has directed productions at San Francisco Opera's Merola Program, Santa Fe Opera's Apprentice Artist Program, Florida Grand Opera's Resident Artist Program, IU Opera Theatre, CCM Opera Theatre, AVA Opera Theater, BU Opera Institute, USC-Thornton Opera, Music Academy of the West, Western Australia Academy of Performing Arts, Carnegie-Mellon Opera Theatre, and Manhattan School of Music Opera Theater. He was guest professor of Advanced Acting at Cincinnati Conservatory of Music, professor at the University of Houston School of Theatre, at Cornish College of the Arts, and was an annual Adjunct Faculty Artist at North Carolina School of the Arts Theatre Department and Fletcher Opera Institute, at Westminster Choir College and, was a Schmidbauer Guest Artist-Stage Director at Stephen F Austin University's Theater Department. Chuck also uses his enormous experience as a performer, director, and coach in his many Master Classes and private coachings at various Professional Artist Training Programs for singers and actors. He is also in great demand as a private audition coach in New York City, coaching both opera and musical theater performers. For 7 years Chuck was Artistic Director of The Immediate Theatre in Seattle: a physically based company committed to the creation of visually exciting dramatic works. Chuck's specialty in movement comes from a background in gymnastics as well as being one of three Americans to have received a diploma from the Marcel Marceau International School of Mimedrama in Paris. He is the only American to be appointed to teach at Marceau's School, and he performed with Marceau on his 1991 European Tour and in Klaus Kinski's film "Paganini". Chuck also studied at the Paris School for Theatrical Fencing and was awarded an Honorary Diploma from the French Academy of Arms. Acting roles include Orsino in Twelfth Night, Brutus in Julius Caesar, and Petruchio in Taming of the Shrew with the Seattle Shakespeare Festival, and Caliban in The Tempest with his own Immediate Theatre.
Based in New York City, James Ortiz is an established director, actor, writer, designer, and puppeteer. Most recently, James was the recipient of the 2016 OBIE Award for Puppet Design for his critically acclaimed Off-Broadway show, The Woodsman, which was hailed by the New York Times as 'Abundantly Beautiful" "Evocative and Haunting" by Time Out New York, and "Clever, Pure Theatre" by The Huffington Post. Regionally, On, and Off-Broadway James has designed for: Theatre for a New Audience and The Public Theatre (King Lear), Shakespeare Theatre of DC (The Tempest), The New Group (Mercury Fur), Studio42 (Miss Lilly Gets Boned, My Base and Scurvy Heart), Naked Angels (Sea Wife), Stable Cable Theatre Company (Nibbler), and Making Books Sing (Wringer). As a director, James's work has been seen at New World Stages, Ars Nova and 59e59 (The Woodsman), Glass Bandit Company (The Little Mermaid), New Place Players (A Midsummer's Night's Dream), Collin Theatre Center (All's Well That Ends Well, The Glass Menagerie). As an Actor, credits include The Woodsman (New World Stages), El Gato Con Botas(Tectonic Theatre Co.), On the Head of a Pin (Strangemen), Rhinoceros(UglyRhino Theatre Co.), Wanda's Monster (Making Books Sing). AWARDS: Recipient of the 2014 Jim Henson foundation Grant, 2015 resident artist at The New Victory Theatre. James is also the Co-Founder and Co-Artistic Director of the devised theatre group, Strangemen & Co.
With a voice "capable of sinister low chest tones and robust high notes" (Pittsburgh Post-Gazette) and a stage presence that has been called "a force" (Opera News), dramatic mezzo-soprano Lindsay Ammann is rapidly rising as a radiant star in the opera world. In the 2016-2017 season, Lindsay Ammann makes her Lyric Opera of Chicago debut as Flosshilde in David Pountney's new production of Das Rheingold conducted by Andrew Davis. She will also return to the Canadian Opera Company as the 1st Norn in Götterdämmerung conducted by Johannes Debus. Recently, Lindsay Amman debuted at the Washington National Opera in Wagner's Der Ring des Nibelungen directed by Francesca Zambello and conducted by Philippe Augin to great critical acclaim. She was heard as Erda in both Das Rheingold and Siegfried, as well as the First Norn in Götterdämmerung and Schwertleite in Die Walküre. She also debuted at Grand Théâtre de Genève as Dritte Dame in Die Zauberflöte and North Carolina Opera as Suzuki in Madama Butterfly. Ms Ammann debuted at Aalto-Musiktheater Essen as Jezibaba in a new production of Rusalka and also debuted at the Canadian Opera Company as Schwertleite in Die Walküre. In concert, she sang Verdi's Messa da requiem with the South Dakota Symphony, Martha in John Adams' The Gospel According to the Other Marywith the Netherlands Radio Orchestra and her Casals Festival debut in Puerto Rico as Brangäne in a concert version of Tristan und Isolde.  Ms. Ammann made her Metropolitan Opera debut in Robert LePage's Der Ring des Nibelungen as Rossweisse in Die Walküre under the baton of James Levine. She was recently a member of the ensemble at Staatsoper Stuttgart where she sang Dame Quickly in Falstaff, Olga in Eugene Onegin, and the world premiere of Peter Pan. Other recent performances include alto soloist in a fully staged production of Handel's Messiah with the Pittsburgh Symphony, Beatrice in Le donne curiose with the Wolf Trap Opera company and the Beggar Woman in Sweeney Todd with the National Symphony Orchestra. Ms. Ammann finished her Resident Artist program with Pittsburgh Opera singing the roles of Alisa in Lucia di Lammermoor and Goffredo in Rinaldo. Also during her residency at Pittsburgh Opera, she sang the roles of Olga in Eugene Onegin, Dame Quickly in Falstaff, Lucretia in The Rape of Lucretia, and covered the title role of Carmen. A former Gerdine Young Artist at Opera Theatre of Saint Louis, she has been seen there as Olga in Eugene Onegin, Kate Pinkerton in Madame Butterfly, Page of Herodias in Salome, and covered Samira in The Ghosts of Versailles and Antonia's Mother in The Tales of Hoffman.  Ms. Ammann equally enjoys the concert stage, having sung the Verdi's Messa da Requiem, Handel's Messiah, Mendelssohn's Elijah, Mahler's Symphony No. 2 and Rossini's Petite messe solennelle with orchestras such as the Pittsburgh Symphony, Erie Philharmonic, Sioux County Oratorio and Symphony, and the orchestra at Indiana University. Ms. Ammann can be seen on the Die Walküre DVD from the Metropolitan Opera's Ring Cycle and the documentary Wagner's Dream, as well as heard on the Grammy Award-winning Götterdämmerung CD, all commercially available on Deutsche Grammophon.
Identified by Opera News as one of their "25 Rising Stars" (October 2015 issue), tenor Andrew Bidlack's 2015-16 season included his return to Opera Omaha, where he sang Count Almaviva in Il barbiere di Siviglia, a role in which he previously appeared at Florida Grand Opera. He also appeared with Arizona Opera as Arcadio in Florencia en el Amazonas, and made his debut at the Metropolitan Opera as Beppe in I pagliacci, where he also sang the role of the Lamplighter in Manon Lescaut while covering Edmondo. In spring 2016, Andrew traveled to the UK to create the principal role of Private John Ball in In Parenthesis, Welsh National Opera's new commission by composer Iain Bell, a production that included a residency at the Royal Opera House, Covent Garden. Mr. Bidlack is a frequent interpreter of contemporary music; last season saw him create both the principal tenor role of Rob Hall in Joby Talbot's Everest at Dallas Opera and the role of Irving Tashman in Ricky Ian Gordon's Morning Star at Cincinnati Opera. He also sang Ishmael in the workshop production of Jake Heggie's Moby-Dick at San Francisco Opera while he was an Adler Fellow, and later workshopped the role of Tancredi in John Musto's new opera The Inspector at Wolf Trap. As a Merola Opera Program participant, he created the role of Charles Carter in the world premiere of Thomas Pasatieri's The Hotel Casablanca. He appeared at Carnegie Hall for his debut with Lyric Opera of Chicago as The Young Collector in their production of A Streetcar Named Desire with Renée Fleming, a role he also sang in Chicago, and in the role of Sandy in The Lighthouse at Dallas Opera for the inception of their Chamber Opera Series. A graduate of San Francisco Opera's prestigious Adler Fellowship, Mr. Bidlack made his house debut there in The Little Prince and went on to appear as Odoardo in Ariodante, Arturo in Lucia di Lammermoor, Count Albert in Die tote Stadt, the Simpleton in Boris Godunov, and Pedrillo in Die Entführung aus dem Seraglio. Other career highlights include his New York City Opera debut as Baron Lummer in Intermezzo, Tamino in Die Zauberflöte and Don Ottavio in Don Giovanni at Florida Grand Opera, and Rodrigo in Rossini's Otello at Opera Southwest. International engagements had included his South American debut as Oronte in Alcina at Teatro Municipal de Santiago in Chile, Damon in Acis and Galatea at the Macau International Music Festival, and his appearance as A Guest in The Saint of Bleecker Street at the Spoleto Festival in Italy, which was recorded and released under the Chandos label. Concert performances have included the tenor soloists in Handel's Messiah, Mendelssohn's Elijah, Haydn's Creation, and Mozart's Requiem.  He made his Carnegie Hall debut singing the Evangelist in Bach's Weihnachts Oratorium, and he joined the South Dakota Symphony and the Milwaukee Symphony for Carmina Burana.  
Hailed by The New York Times as "a bass with an attitude and the goods to back it up," Matt Boehler has been critically acclaimed both for his dramatic skill and his vocal ability.  Last season, Mr. Boehler debuted with Dallas Opera as the Donkey in Becoming Santa, joined Musica Sacra for Handel's Messiah, the Sacramento Chorale for Haydn's Harmoniemesse, Bard Summerscape as Il Cieco in Mascagni's Iris, and made his role debut as Baron Ochs in Der Rosenkavalier with Victory Hall Opera. The 2016-2017 season and beyond includes Rautavaara's Vigilia at St. John of the Divine in New York, his much anticipated return to Canadian Opera Company as Sarastro in Die Zauberflöte, and Mr. Mister in Marc Blitzstein's The Cradle Will Rock at Opera Saratoga. Future seasons include his debut with Opera Philadelphia as well as performances with Minnesota Opera, the Prototype Festival, Madison Opera, and the National Cathedral in Washington, DC. The 2014-2015 season included returns to the Metropolitan Opera as Bertrand in Iolanta and Madison Opera as Rocco in Fidelio, and debuts with Théâtre Royal de La Monnaie in Daphne, Michigan Opera Theater as Méphistophélès in Faust, and Des Moines Metro Opera as Osmin in Die Enführung aus dem Serail. The 2013-2014 season brought Mr. Boehler's return to the Metropolitan Opera for The Nose, his debut with Canadian Opera Company as Sir Walter Raleigh in Roberto Devereux and his cover of the title role in Don Quichotte, and a reprise of his Messiah with the Jacksonville Symphony. Additionally, he returned to Theater St. Gallen for his role debut as Daland in Der fliegende Holländer, Leporello in Don Giovanni, Pfarrer/Dachs in The Cunning Little Vixen, and Sparafucile in Rigoletto. He also joined the St. Galler Festspiele as Baldassare in La favorita for their 2014 festival season. The season of 2012-13 found Mr. Boehler making several house and role debuts. He joined the ensemble of Theater St. Gallen in Switzerland as Sarastro in Die Zauberflöte, Count Horn in Un ballo in maschera, Pedone in La Wally, Marchese di Calatrava in La forza del destino, Leone in Attila and as Sparafucile in Rigoletto, a role he debuted recently with the Minnesota Orchestra. He made his Madison Opera debut as Leporello in Don Giovanni, and a highly acclaimed New York City Opera debut as the Hotel Manager in Thomas Ades' Powder Her Face, a role he reprised with the Festival Opéra de Quèbec. He also returned to Carnegie Hall for performances of Messiah with Musica Sacra. In the 2011-2012 season, he sang Drebednev in Moscow, Cheryomushki with Chicago Opera Theater, Nourabad in Les pêcheurs de perles for Hawaii Opera Theater, and two operas by Philip Glass: In the Penal Colony with American Opera Projects and Kepler with Spoleto Festival USA. Mr. Boehler is also a frequent collaborator within the world of contemporary music. In addition to the work of recent seasons, he has been seen in two world premieres of John Musto's work: The Inspectorwith Wolf Trap Opera and Bastianello, along with William Bolcom's Lucrezia, with New York Festival of Song. He premiered Michael Dellaira's The Secret Agent with Center for Contemporary Opera, and he has been seen in Argento's Casanova's Homecoming and Poul Ruders' The Handmaid's Tale, both with Minnesota Opera. His discography includes recordings of Bastianello and Lucrezia with NYFOS and a disc of songs by Stefan Wolpe with pianist Ursula Oppens; he can also be heard on recordings of Bernstein's Mass with Baltimore Symphony Orchestra and of Schumann's Scenes from Goethe's Faust with American Symphony Orchestra as well. He is a graduate of the Juilliard Opera Center and he held a three-year tenure as a resident artist with Minnesota Opera. At Viterbo University, his first alma mater, he graduated with a degree in Theatre Arts.
Christopher Burchett's rich, no-holds-barred baritone voice and committed stagecraft have earned him a place on the stages of opera companies throughout the United States including New York City Opera, Santa Fe Opera, Boston Lyric Opera, Palm Beach Opera, Opera Orchestra of New York, Virginia Opera, Opera Omaha, Eugene Opera, Glimmerglass Opera and Opera Theatre of St. Louis. Current engagements include a return to Boston Lyric Opera as Dad/Cafe Manager/Police Chief in Turnage's Greek; and Ming in Gilgamesh (part of the world premiere of the Ouraboros Trilogy) with Beth Morrison Projects. Recent engagements have included a return to Forth Worth Opera for Buried Alive/Embedded; Captain Corcoran in H.M.S. Pinafore, and Harlekin in Ariadne auf Naxos, both with Virginia Opera; Sweeney Todd with Eugene Opera; Don Giovanni with Cedar Rapids Opera Theatre; Father Palmer in Silent Night with Fort Worth Opera; a reprise of Soldier Songs at the Atlas Theater in Washington, DC; and Buried Alive/Embedded with Fargo-Moorhead Opera. He was heard in New York with the one man opera Soldier Songs by David T. Little as part of the PROTOTYPE New Music Festival produced by Beth Morrison Projects and HERE; and as Captain Corcoran in H.M.S Pinafore with Opera Saratoga.  He was Blazes in Boston Lyric Opera's production of The Lighthouse; Chou En-Lai in Nixon in China with Eugene Opera; and Dr. Falke in Die Fledermaus with Virginia Opera. A champion of new music, Christopher has been a part of several world premieres, creating the roles of Orsen in Edwin Penhorwood's opera Too Many Sopranos with Cedar Rapids Opera Theatre, M. Carré-Lamadon in Stephen Hartke's The Greater Good with Glimmerglass Opera and Justin in Anthony Davis' opera Wakonda's Dream and Baritone Soloist in Paul Moravec's Blizzard Voices, both with Opera Omaha.  He has also participated in the revival of several 21st century works: the oratorio Restless Mourning by Anthony Davis and the roles of Braxton and Sherrin in Sir Richard Rodney Bennett's opera The Mines of Sulphur. Christopher can be heard on both the Naxos record label in the world premiere recording of The Greater Good; as well as part of the "OPERA America Songbook", a recorded collection of 47 songs commissioned by OPERA America to celebrate the opening of the National Opera Center.
American baritone Michael Chioldi has quickly gained the reputation as one of the most sought-after dramatic baritones of his generation. Praised for his "warm, rich tone" (Opera News) and "deeply communicative phrasing" (The Baltimore Sun), he has received unanimous acclaim from critics and audiences around the world for his portrayals of the dramatic baritone roles of Verdi, Puccini, and Strauss. His recent role debuts include the title roles in Verdi's Rigoletto with the Orquesta Filarmónica de Jalisco, Macbeth with Palm Beach Opera, and Nabucco with Lyric Opera Baltimore; as Conte di Luna in Il Trovatore with Utah Opera; and as Rodrigo in Don Carlo with Austin Lyric Opera. Chioldi's 2016-17 season began in September with his return to Virginia Opera for his role debut as Tonio in Pagliacci. He returned to New Orleans Opera in November in the title role of Verdi's Macbeth, as well as to the Orquesta Filarmónica de Jalisco debuting the role of Iago in Otello. Chioldi then returns to the Palm Beach Opera to reprise his portrayal of the title role in Rigoletto in March. Chioldi has performed at nearly every major American opera house, including The Metropolitan Opera, San Francisco Opera, Houston Grand Opera, Washington National Opera and Los Angeles Opera. Signature roles include Scarpia in Tosca with Hawaii Opera Theater, Ft. Worth Opera, New York City Opera, Toledo Opera, and Spain's Opera de Oviedo; Jochanaan in Salome with Utah Opera, Virginia Opera, and the Saito Kinen Festival in Japan; the title role of Macbeth with Michigan Opera Theatre and Palm Beach Opera, Enrico in Lucia di Lammermoor with Washington National Opera, Utah Opera, and New Orleans Opera; and Sharpless in Madama Butterfly with Washington National Opera and in a nationwide broadcast on the PBS television series Live from Lincoln Center, which received an Emmy award in 2008. Additional recent performances include the title role in Hamlet with Washington National Opera; the title role in Der Fliegende Holländer with Pforzheim Opera; Marcello in La bohéme at London's Royal Albert Hall; Ford in Falstaff with Utah Opera, Chautauqua Opera, and the Ft. Worth Opera Festival; Giorgio Germont in La Traviata with Palm Beach Opera; Count Almaviva in Le nozze di Figaro with Hawaii Opera Theater, Chautauqua Opera, and the Macau International Music Festival; and Giacomo in Verdi's Giovanna d'Arco with Chicago Opera Theater. He made his debut at New York's Metropolitan Opera as Fléville in Andrea Chénier with Luciano Pavarotti and Aprile Millo under the baton of James Levine, and traveled extensively in Japan with Maestro Seiji Ozawa. Chioldi has been the recipient of numerous awards and honors, including The Metropolitan Opera National Council Competition (Winner 1995); The MacAllister Competition; The Licia Albanese-Puccini Competition; and The Sullivan Foundation. He received his Bachelors' degree from West Virginia University, and his Masters' degree from Yale University. His recordings appear on the Sony Classical, BMG, Accord and Newport Classics labels.
Bass Baritone Craig Colclough began his career at the Los Angeles Opera. After two seasons appearing with the company in various roles, Mr. Colclough joined Florida Grand Opera's Young Artist Studio, and in 2012, became a Filene Young Artist at the Wolf Trap Opera Company. The autumn of 2016 finds Craig's return to London for Scarpia in Tosca with English National Opera, a role that serves as his debut at Canadian Opera Company later in the season. He also joins the Minnesota Opera for Doristo in L'arbore di Diana, and makes his debut with Opera Saratoga singing the title role in Verdi's Falstaff. Mr. Colclough's 2015-2016 season included performances with Arizona Opera as the title role in Falstaff and Simon Bolivar Symphony Orchestra of Venezuela, for Timur in Turandot, conducted by Gustavo Dudamel. Additionally, he returned to English National Opera for his role debut of Kurwenal in Tristan und Isolde, Florida Grand Opera for Oroveso in Norma, and Los Angeles Opera for Simone in Gianni Schicchi. On the concert stage, he makes his debut with the Los Angeles Philharmonic as Dottore Grenvil in La traviata. In the 2014-2015 season, Craig made his European debut with English National Opera as Jack Rance in La Fanciulla del West, returned to Los Angeles Opera for concert performances of Hercules v. Vampires (roles of God of Evil and Procrustes), and also debuted with Atlanta Opera as Figaro in Le nozze di Figaro, as well as Lyric Opera of Kansas City as Lieutenant Gordon in Silent Night. During the 2013-2014 season, the bass-baritone essayed the title role in Don Pasquale at the Arizona Opera, covered the title role in Falstaff for both San Francisco Opera and Los Angeles Opera, and appeared as Bosun in Billy Budd at the Los Angeles Opera. In concert, Mr. Colcough appeared with the Orange County Philharmonic Society for Beethoven's Ninth Symphony. Past leading roles include Falstaff in Verdi's Falstaff, Don Giovanni, Leporello and Il Commendatore in Mozart's Don Giovanni, Nick Shadow in Stravinsky's The Rake's Progress, Collatinus in Britten's The Rape of Lucretia, Oroveso in Bellini's Norma, Rambaldo in Puccini's La Rondine, Raimondo in Donizetti's Lucia di Lammermoor, Friar Laurence in Gounod's Romeo and Juliet and Elijah in Mendelssohn's Elijah. Additional credits include the Israeli Symphony Orchestra, California Philharmonic, Capitol Records, Abbey Road Studios and the soundtrack of the film Rolled.
Mezzo Soprano Ginger Costa-Jackson is a graduate of the Metropolitan Opera's Lindemann Young Artist Development Program, and a Samling Scholar. This season she performed the role of Rosina in Il Barbiere di Sivigliawith the Metropolitan Opera, and the title role in Bizet's Carmen with the San Francisco Opera. Future engagements include Carmen with Michigan Opera Theatre, her debut at Opera de Paris as Despina in a new production of Cosi fan tutte, conducted by Philippe Jordan, Dorabella in Cosi fan tutte with the Seattle Opera, the role of Rosina with the Santa Cruz Symphony and Carmen with Nashville Opera. In the 2014-15 season she debuted at Vancouver Opera and Opera Grand Rapids in the title role of Carmen, and returned to the Metropolitan Opera as Lola in Cavalleria Rusticana and Mercedes in Carmen.This past summer she sang concerts presented by Met in the Parks. In 2012 Ginger debuted the role of Carmen with the Glimmerglass Festival, and made her European debut as Lola in Cavalleria Rusticana with the Gran Teatre del Liceu. In 2012-13 season she returned to the Metropolitan Opera as Smaragdi in Francesca da Rimini and Mercedes in Carmen, and was featured as the Marchesa del Poggio in Verdi's Un Giorno di Regno with Glimmerglass Opera. In 2013-14 she returned to the Metropolitan Opera for Cosi fan tutte and Falstaff, and debuted at Virginia Opera as Carmen. Recently she performed Rosette in the Metropolitan Opera's new production of Massenet's Manon, made her San Francisco Opera debut in Nixon in China, sang Marie in Rossini's Moise et Pharaon with the Collegiate Chorale at Carnegie Hall, and the role of Puss in the 2010 US premier of Montsalvatge's El gato con botaswith the Gotham Chamber Opera. Ms Costa-Jackson's former Met roles include Nancy T'sang, First Secretary in Nixon in China; Wowkle in La fanciulla del West; Eine Theatergarderobiere/Der Gymnasiast/Ein Groom in Berg's Lulu; cover for Cherubino in Le nozze di Figaro; Lola in Cavalleria Rusticana; and Myrtale in Thaïs. In 2009 she debuted with the San Francisco Symphony as Celia in Gilbert and Sullivan's Iolanthe. Ms. Costa-Jackson has won many prestigious awards, including recognition in The Lotte Lenya Competition, the Gerda Lissner International Vocal Competition, and the Opera Index Vocal Competiton.
Tenor Keith Jameson, a native of South Carolina, recently appeared at Lyric Opera of Chicago as Triquet in Eugene Onegin and as Sancho Panza in Man of La Mancha with Utah Opera. Keith recently debuted with Washington National Opera at the Kennedy Center singing Basilio in Le nozze di Figaro, and sang at the Hollywood Bowl as Spoletta in Tosca with the Los Angeles Philharmonic and Maestro Gustavo Dudamel. He sang the title role of Candide with Opera di Firenze, Maggio Musicale Fiorentino; with the Baltimore Symphony Orchestra, the Orquestra Sinfônica do Estado de São Paulo, Brazil, and at New York City Opera. At the Metropolitan Opera, Keith made his debut in War and Peace, and has sung the Novice in Billy Budd, Remendado in Carmen and Bardolfo in Falstaff (both Live from the Met HD broadcasts and DVDs), and Alméric in Tchaikovsky's Iolanta (Live from the Met HD broadcast), among others. Keith has had a long association with The Santa Fe Opera, performing roles in Billy Budd, Peter Grimes, Paul Moravec's The Letter (world premiere), Lewis Spratlan's Life is a dream (world premiere), Turandot, Madama Butterfly, and more.  He created the role of Henry Snibblesworth in the world premiere of The Classical Style: An Opera (of sorts) by Steven Stucky and Jeremy Denk at the Ojai Music Festival, CA, and at Zankel Hall in NYC; and created the role of Yab the Elf in Becoming Santa Claus by Mark Adamo with Dallas Opera (to be released on DVD in 2017). He has performed roles with the Lyric Opera of Chicago, Los Angeles Opera, Seattle Opera, Houston Grand Opera, Pittsburgh Opera, Ft. Worth Opera Festival, Arizona Opera, Central City Opera, Indianapolis Opera, Glimmerglass Opera, Opera Boston, and the New York Philharmonic. He can be heard on the recordings of Haydn's The Creation and Lord Nelson Mass with Boston Baroque, and as Grandpa Joe in The Golden Ticket by Peter Ash with the Atlanta Opera. Internationally, he has sung with the English National Opera, Opera de Wallonie, and at the Saito Kinen Festival in Matsumoto, Japan. In 2015, Keith sang a workshop of a new one-man opera entitled Why Is Eartha Kitt Trying to Kill Me? by Jeffrey Dennis Smith and David Johnston, as part of the Opera America New Works Forum, presented by American Lyric Theater.  He received his Bachelor of Music in Vocal Performance from Furman University, and his Master of Music in Conducting and his Doctorate of Musical Arts in Vocal Performance and Literature, both from the Eastman School of Music. He is the composer of the children's opera Petunia, based on the book by Roger Duvoisin. His upcoming engagements include his debut with Teatro Massimo, Palermo, Sicily as Flute/Thisbe in A Midsummer Night's Dream, and a return to Lyric Opera of Chicago and the Seiji Ozawa Matsumoto Festival in 2018.
Following performances of Susanna in Le nozze di Figaro, the Washington Post hailed soprano Maureen McKay as the "undisputed star of the show," and further exclaimed, "Armed with a silvery, precisely aimed voice, natural stage presence and the kind of beautifully detailed acting you don't see often enough on the operatic stage, McKay turned in a smart, sexy and thoroughly charming performance." In the 2016-17 season, she makes her debut with San Diego Opera as Nannetta in Falstaff and returns to the Lyric Opera of Kansas City as Susanna in Le nozze di Figaro. McKay also sings Pamina in Die Zauberflöte in returns to Gran Teatre del Liceu and Komische Oper Berlin, as well as debuts with The Bolshoi Theatre in the production where she originated the role in 2012 with Barrie Kosky and "1927". In the 2015-16 season McKay made her mainstage debut with Seattle Opera in her role debut as Léïla in Bizet's Les pêcheurs de perles. She also joined The Danish National Symphony Orchestra for performances of Händel's Messias and the Choir and Orchestra of Teatro Carlo Felice in Genova for Mahler's Symphony No. 2, both under the baton of Fabio Luisi. She also joined the Colorado Springs Philharmonic for Beethoven's Symphony No. 9 and Barber's Prayers of Kierkegaard.  As a previous member of the ensemble at the Komische Oper Berlin, McKay sang leading roles in the premieres of several new productions that include Blanche in Dialogues des Carmélites, Gretel in Hänsel und Gretel, Pamina in Die Zauberflöte, and Marzelline in Fidelio. Also with the company, she sang Mozart's Requiem in performances conducted by music director, Henrik Nánási, as well as Sophie in Der Rosenkavalier, Susanna in Le nozze di Figaro, Norina in Don Pasquale, and Musetta in La bohème. Among her other previous engagements are Gretel in Hänsel und Gretel with Bayerische Staatsoper, Opera Company of Philadelphia, Portland Opera, and Tulsa Opera, Nannetta in Falstaff with the Saito Kinen Festival, Pamina in Die Zauberflöte with Washington National Opera, Edinburgh International Festival, Lyric Opera of Kansas City, and Opera Colorado, Anne Trulove in The Rake's Progress with Portland Opera, Lightfoot McLendon in Cold Sassy Tree with The Atlanta Opera, Lilla in Una cosa rara and Elisa in Il re pastore with Opera Theatre of Saint Louis, Caroline Gaines in Richard Danielpours Margaret Garner with New York City Opera, and Laurey in Oklahoma! with Central City Opera. She joined Seiji Ozawa for the Dew Fairy and the Sandman in Hänsel und Gretel in his Ongaku-juku Opera Project throughout Japan and made her debut with the Los Angeles Philharmonic as Papagena in Die Zauberflöteconducted by Leonard Slatkin at the Hollywood Bowl. The soprano's concert performances include Mahler's Symphony No. 4 with The Cleveland Orchestra, Schmidt's Das Buch mit sieben Siegeln with the Orchestra dell'Accademia Nazionale di Santa Cecilia, Mozart's Requiem and Debussy's La demoiselle élue with the Utah Symphony, Carmina Burana with the National Symphony Orchestra, Seattle Symphony, and Utah Symphony, Grieg's Peer Gynt with the Oregon Symphony and Louis Andriessen's The New Math(s) with the Seattle Chamber Players. With Seattle's Music of Remembrance, she premiered Lori Laitman's song cycle I Never Saw Another Butterfly for soprano and clarinet and sang Aninku in Tony Kushner's adaptation of Hans Krasa's Brundibár; a recording including both Brundibár and Laitman's song cycle is available on the Naxos label. Ms. McKay is a former member of Seattle Opera's Young Artists Program and was a Filene Young Artist with Wolf Trap Opera Company, where she sang Johanna in Sweeney Todd, Ismene in Telemann's Orpheus, and Susanna in Le nozze di Figaro. She earned her Bachelor of Music at Columbus State University in Georgia (summa cum laude) and her Master of Music at The Ohio State University.
Soprano Caroline Worra has been hailed by Opera News as "one of the finest singing actresses around." She has sung over 75 different operatic roles including more than 20 World, American, and Regional Premieres. She was internationally acclaimed for her performances of Jenny in The Mines of Sulphur, Grammy nominated CD for Best Opera Recording, and as the title role for The Greater Good; Passion of Boule de Suif, Opera News and New York Times pick for one of the top classical CDs of the year. Her third full opera recording, Glory Denied, was released by Albany Records and is a Washington Post and Opera News pick for one of the top CDs of the year. This year, her fourth full opera CD, recorded live by Naxos, is now available: Faccio's Amleto, in which she portrays Regina Geltrude. Ms. Worra has worked at over 30 opera companies across the United States including The Metropolitan Opera, The Lyric Opera of Chicago, Boston Lyric Opera, Pittsburgh Opera, Fort Worth Opera, Dallas Opera, Long Beach Opera, Opera Santa Barbara, Madison Opera, Cedar Rapids Opera, Opera Memphis, Fargo-Moorhead Opera, Gotham Chamber Opera, Urban Arias, American Lyric Theatre, American Opera Projects, Tanglewood, Opera Saratoga, Berkshire Opera Festival, and six seasons at both Glimmerglass Opera and New York City Opera.  Caroline performed on two U.S. National Tours with San Francisco's Merola/Western Opera Theatre singing Violetta in La Traviata and Rosalinda in Die Fledermaus.  She gave a debut recital at Carnegie Hall (Weill Hall) and performed on the main stage of Carnegie Hall as the soprano soloist in Beethoven's Mass in C, Britten's Spring Symphony, Haydn's Lord Nelson Mass and Orff's Carmina Burana. She recently performed as the soprano soloist in Mahler's Symphony No. 4 and Strauss' Four Last Songs with the LaCrosse Symphony. Overseas she has performed as Anne Trulove in The Rake's Progress at Teatro Massimo Bellini in Catania, Sicily and Jenny in The Mines of Sulphur at The Wexford Festival Opera in Ireland (winner of The 2009 Best Opera of Ireland Award). Caroline is a recipient of the Shoshana Foundation/Richard F. Gold Career Grant. She grew up in Wisconsin and graduated from Onalaska High School where she also received the 2015 Wall of Excellence Award. She has a Bachelor of Arts Degree in Piano and Vocal Performance from Luther College, a Master of Music Degree in Vocal Performance from The University of Missouri in Columbia where she also received a 2014 Distinguished Alumni Award from the College of Arts and Science, and a Doctor of Music degree in Vocal Performance from Indiana University. Caroline currently resides in New York City.
Opera Saratoga, formerly known as Lake George Opera, began with a production of Die Fledermaus at the Diamond Point Theatre on July 5, 1962, playing to an audience of 230. The Company now calls Saratoga Springs home and performs for more than 25,000 people annually. Opera Saratoga serves the communities of Saratoga Springs, the Lower Adirondack and New York State Capital areas by providing access to world-class opera through the production of an annual Summer Festival, as well as year-round activities including extensive educational programs, mentorship of emerging operatic artists, and unique opportunities for the public to experience opera in both our home theater and non-traditional venues that leverage and embrace the unique cultural, historic, and natural resources of the area. To date, the Company has performed over 90 different fully-staged works by over 50 different composers, including thirty-three works by American composers and six world-premiere productions. Throughout its history, the Company's success has been shaped by visionary leaders, talented artists, and critically acclaimed productions. In July 2014, Lawrence Edelson became the Opera Saratoga's Artistic and General Director. Edelson's leadership marked a new chapter in the company's history, with increased emphasis on community partnerships throughout the year, diversification of the company's repertoire, and a reaffirmed commitment to both the presentation of American opera and the mentorship of emerging artists as core activities in the company's programs each season. The 2017 Summer Festival will be the third season under his leadership. For more information, visit www.operasaratoga.org.

at Spa Little Theater
19 Roosevelt Dr, Saratoga Springs, NY 12866
Saratoga Springs, United States

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Mainstage Improv Show

Mainstage Improv Show
Event on 2017-07-01 19:00:00
See some of PHIT Comedy's most talented performers come together to create a brand new show on the spot! PHIT Comedy's Mainstage Improv Show is directed by Frank Farrell. Online Ticket – .00

at Adrienne Theatre
2030 Sansom Street
Philadelphia, United States

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SCRIPT ANATOMY: Televisionary Writers Workshop (25)

SCRIPT ANATOMY: Televisionary Writers Workshop (25)
Event on 2017-09-16 11:00:00
Need to write a TV spec or pilot? Accomplish your TV writing goals with the guidance of a pro in 2017! Want to be a TV staff writer?  Looking to secure an agent or manager?  Want to submit some powerhouse fellowship scripts for 2017?  Or is your ultimate goal to create your own show?  Aspiring writers need at least 1 exceptional spec and 1 original pilot in their portfolio to break in to the business.   Develop and finish your comedy or drama TV specs and pilots and elevate your material with Script Anatomy's tools and development process and give yourself the best shot at success with… The Televisionary Writers Workshop Instructor: Mike Perri In this intensive 5 week TV workshop, writers have the option to focus on a TV spec or an original pilot.  Your instructor will guide you step by step through the process of crafting your script from concept to solid outline using Script Anatomy tools.  This applicable and hands on course will help prepare you for staffing, development and the studio writing program application process.   Classes will cover: ·              Hooks/Concepts ·              Arena ·              Loglines & Pitching ·              TV Story Structure ·              Strong Act Outs ·              Tone & Genre Expectation ·              Character Development ·              Dynamic Relationships ·              Conflict and Obstacles ·              Dilemmas & Goals ·              Stakes ·              Theme  … and more. Writers will learn tools to develop their TV scripts, have weekly assignments on concept, pitching, character development, outline, etc.   Additionally, each writer will receive weekly peer feedback and instructor critique and evaluation of weekly assignments and material in a supportive environment.  WHEN: 5 Saturdays starting September 16th to October 21st (OFF* October 14th to work on your outlines) from 11:00am – 2:00pm WHERE: Blank Spaces, Wilshire COST: 5.00  Limit 12 writers There will be no refunds after 9/06/2017. Please click here for our full refund policy. *******  ABOUT THE INSTRUCTOR Michael Perri is a dramatic writer who was born Emmanuel Pedro until his adoptive parents changed his name when he was ten. Growing up in Chicago’s foster care system, he wrote plays and asked (okay forced) the other kids to act them out.  Before moving to LA to write full time, he traveled the world as a technology and cyber-security consultant.  Recently, Perri was awarded a coveted spot in NBC’s Writers on the Verge Program.  Prior to that, he was a finalist in the Disney | ABCWriting program and a participant in the National Hispanic Media Coalition’s (NHMC) Television Writers Fellowship sponsored by ABC Creative Talent & Development and NBC’s Talent Diversity initiatives.  Perri also made Tracking-Board.com’s 2012 Young and Hungry List. He attributes his success to the same resolve and optimistic attitude he displayed as a child in foster care. Perri’s characters often reflect his own upbeat and positive attitude, persevering to overcome their obstacles no matter the odds.  As a nice Catholic boy, his dream was always to marry a sweet Jewish girl and join the enormous family she puts up with.  Mike’s dream came true and he looks forward to raising his children to be guilt-free ‘Cashews’ one day.    He currently is a staff writer on NBC TV’s hit show Blindspot. Before that, Perri was a staff writer on NBC TV's CIA Conspiracy Series State of Affairs starring Katherine Heigl and Alfre Woodard. He is repped by Kaplan Stahler and Echo Lake Management. TESTIMONIALS: "Writing a spec can be a daunting process, especially if you’re planning to submit to the network writing programs. Mike Perri makes it all go away. He has gone through the process himself and he’s been a reader for these very same programs. His knowledge is invaluable and his attitude is always positive—it was a pleasure to be part of his class and learn what it takes to write that awesome spec." ~ Moises Zamora, staff writer, AMERICAN CRIME __________________________ "It was not my first spec script and yet I learnt so much more than I thought possible, in this class. The tools offered were very specific to TV writing and hence helped me focus my efforts. The teacher, Michael Perri was insightful, energetic and generous in his feedback and assistance and I would highly recommend any course he leads. I was also appreciative of the general quality of the students as people and as writers. I would strongly recommend this course to any TV spec writers."  ~ Kathy Petrakis, finalist: Scriptapalooza 2015 __________________________ "Michael Perri has a wealth of information that he shares so generously with his students in a safe/constructive environment. He helped me elevate my script in ways I couldn't have achieved on my own by asking tough questions, offering ideas, and challenging me to not make safe choices. I look forward to taking his class again to pick up on any gems I missed the first time around. ~ Tristen MacDonald, Final Draft Big Break Semifinalist, Groundlings Sunday Company Member __________________________ "Michael Perri is one of those teachers who sneakily helps you elevate your craft in a BIG way. Sneaky because you are having so much fun while you’re doing it. He has a passion for storytelling that is infectious and he can boil the process down for his students in a way that is easily absorbed and executed. For me, he just makes the writing feel easier and less cumbersome, and before you know it, you’ve drafted the best thing you’ve ever written. The writing process is often frustrating and isolating, but Michael Perri will help you feel less of both while simultaneously helping you churn out something crazy good." ~ Alexandra Grizinski, 2nd Round: Austin Film Festival's 2015 Teleplay Contest (1hr drama) __________________________ "There's a difference between a teacher and a mentor, a writer of words and an actual storyteller, someone who "checks off the boxes" and someone who tailors each lesson to your individual needs. Mike worked with me above and beyond the requirements of the class helping to get my TV spec into shape, and giving examples from his own experience.While I had written features before, Mike taught me how to write for TV: The style, the format, and most importantly, he helped me to finally understand how to write theme in a way that I never fully grasped before. Learning from Mike's easy going teaching style is both enjoyable and insightful."  ~ Todd Norwood ______________________________________ ABOUT SCRIPT ANATOMY'S FOUNDER   Tawnya Bhattacharya is a writer, writing instructor and founder of Script Anatomy, a writing school that helps television and screenwriters reach their writing goals and elevate their craft through classes, workshops and private consultations.   Bhattacharya, a screenwriting teacher for the past 12 years, launched Script Anatomy in 2011 just as her professional writing career was getting off the ground. Her objective: to use her experience of breaking into the industry and building a career to help other writers do the same.    Currently writer/producers on Famous in Love (Freeform), Bhattacharya and her writing partner Ali Laventhol have written on The Night Shift (NBC), Perception (TNT), The Client List (Lifetime) and Fairly Legal (USA). They are repped by ICM Partners, Heroes and Villains Entertainment and Morris Yorn. Former NBC Writers on the Verge fellows, they were also semi-finalists for the ABC Disney Fellowship (before getting a job that took them out of the running), and Bhattacharya was also a FOX Writer’s Intensive fellow (FOX optioned her semi-autobiographical pilot).     Bhattacharya’s teaching days began at Writers Boot Camp (2005-2008), a program dedicated to feature writing. Upon starting Script Anatomy, Bhattacharya decided to focus solely on television and developed her own practical tools of writing and rewriting based on her own process. Over the years she finessed these tools into the unique Script Anatomy curriculum, which has helped hundreds of writers succeed, whether getting staffed, representation, selling pilots, screenplays and novels. She has guest-taught workshops with ISA (International Screenwriters Association), Stage 32, the TV Writers Fund, and the Disney | ABC Writing Program, and was most recently a mentor for the 2017 CineStory TV Writers Retreat in Idyllwild. She also writes a column in Script Magazine called “Your TV Guide."   With Script Anatomy, Bhattacharya has helped hundreds of writers succeed. Some have won contests, festivals, and fellowships, others secured representation, or been hired for assignments. Others still have graduated from Script Anatomy to go onto their first staff jobs on network and cable shows, even selling TV pilots, screenplays, and novels as a result. For more about Script Anatomy, visit www.scriptanatomy.com   —– TESTIMONIALS "I wrote the first draft of my original one-hour drama pilot in her workshop and a few months later sold it to Universal/NBC! I really believe that writing that script in Tawnya’s workshop gave me the encouragement, motivation and insight I needed to get my script into tip-top shape." Tawnya is a total pro. Her years working in television have clearly helped her design a unique curriculum for all the workshops offered by Script Anatomy. These workshops are run just like a real television writers’ room with plenty of opportunity for feedback and ideas from other writers. They also provide you with a concrete set of tools to help you realize your story vision and capture it on the page. I wrote the first draft of my original one-hour drama pilot in her workshop and a few months later sold it to Universal/NBC! I really believe that writing that script in Tawnya’s workshop gave me the encouragement, motivation and insight I needed to get my script into tip-top shape. Television writing is such a competitive space, so any edge you can acquire going in is crucial. Tawnya and Script Anatomy provide that edge. – Barbara Curry (sold legal drama REVERSIBLE ERROR to NBC with FAST AND FURIOUS' Chris Morgan attached, Writer of the movies THE BOY NEXT DOOR & ANYTHING FOR LOVE, Hired to rewrite THE JURY at Fox 2000) __________________________ "If you want to jump start your writing career, Script Anatomy is the perfect place." If you want to jump start your writing career, Script Anatomy is the perfect place. Tawnya's tools for structure and story pushed me to take my work to the next level. She showed me how to channel my ideas in an organized and systematic way. In her advanced pilot lab she aligned us as a team from day one, coached us from presenting an idea from concept, to pitch, to script. She ran the class like a writers' room so we could get a sense of the real world requirements of working on staff. Because she has worked as a TV writer for years, Tawnya brings her experience and all the lessons that she's learned into class and gives you the tools to navigate the room. Tawnya's approach is keenly-sharp and nurturing in a professional and enthusiastic way, all while keeping an eye on delivering the best story possible. Script Anatomy delivers tenfold.   – April Fitzsimmons (Story Editor, CHICAGO JUSTICE, 2014 Disney | ABC Writing Program Fellow, Repped by APA & Brillstein) __________________________ “I had high hopes walking into Tawnya’s Script Anatomy Televisionary Workshop. My expectations were blown out of the water.” I had high hopes walking into Tawnya’s Script Anatomy Televisionary Workshop. My expectations were blown out of the water. Tawnya’s class was constructive, supportive and insightful. She isn’t afraid to give you the notes you need to hear. Even better, she supports you with the right tools to squeeze out the talent. I’m truly amazed at how much my writing was elevated after going through her workshop. And when looking around at the other writers she mentors, I’m impressed to see that I’m not the only one. If you’ve got the talent, Tawnya can foster it and bring it to the next level. I seriously can’t express how great she is. I’m so glad I walked into that Script Anatomy workshop and feel so privileged to have Tawnya on my side, helping me through the world of TV writing.  – Daireen Galeano (NLMC/NHMC TV Writing Program Fellow, 2012/2013 CBS Writing Program Fellow)  __________________________ “Tawnya is extremely knowledgeable and supportive and I recommend her to anyone seeking a teacher.” What sets Tawnya apart from other teachers I’ve had is her unmatched enthusiasm for the art and craft of writing. She has a deep understanding of what makes stories work, and is great at communicating that to her students. Her class was always warm and open, but also very focused. People were encouraged to speak up, but if things got off topic, she would get everyone focused on writing again. Tawnya is extremely knowledgeable and supportive and I recommend her to anyone seeking a teacher. — Kiyong Kim (2010-2011 Nickelodeon Writing Fellowship recipient, 2012/2013 NBC Writers On The Verge Fellow, blogger @ Kiyong's Blog of Creative Pursuits) __________________________ “Tawnya was the best screenwriting instructor I could have asked for.” Tawnya was the best screenwriting instructor I could have asked for. I am certainly a better writer  for having had her as my teacher and am very lucky to have her continued support. She has a wonderful ability to get to the heart of storytelling with clear insight and determined precision. She has a no-nonsense style with a nurturing heart. I endorse her teaching one hundred percent.   — Wendy B., Screen & TV Writer __________________________ “Tawnya Bhattacharya is like a screenwriting personal trainer.” Everyone has an idea. But to turn that idea into a 100-page screenplay takes dedication, discipline and hours of work. Tawnya Bhattacharya is like a screenwriting personal trainer. She’ll help you to whip that underdeveloped 98-pound weakling of an idea into a full-blown feature-length commercial screenplay. You’ll love the results.     — Tim Grant (Optioned writer, Repped by UTA, Optioned Screenwriter & Blogger @ Post-Mortem Depression __________________________  "Her class stands out in the overly saturated arena of TV writing classes, books, and seminars." “As a working television writer, Tawnya understands the inner function (or dysfunction) of “the writer.”  This, coupled with her innate gift for teaching, make her class stand out in the overly saturated arena of TV writing classes, books, and seminars.  Not only was her class informational, enhancing both my story and structure skills, but it was inspirational, fun, and offered a supportive environment for every participant.  But, what really matters is this: Tawnya made my work better." — Eva Taylor (2014/15 NBC Writers on the Verge Fellow, repped by UTA)  __________________________  "The guidance you'll receive throughout the roller coaster ride is unparalleled." Tawnya Bhattacharya's Televisionary Writer's Workshop is the place to go if you're ready to write like a professional. The pace is fast, the expectations are high, the deadlines are real, yet the guidance you'll receive throughout the roller coaster ride is unparalleled. As a rule, nobody should care more about your script than you do,but Tawnya frequently breaks this rule; whatever passion you bring to your script is guaranteed to be exceeded by her notes, ideas, and suggestions. This course supplies a safe, constructive, yet thoroughly challenging launch pad for any writer who's looking to grow…and start a career.  — Jason Romaine (writer/actor/comedian; current PAGE International Screenwriting Contest Quarterfinalist, The Humanitas Prize David & Lynn Angell Fellowship in comedy writing)   __________________________ "This workshop is worth its weight in gold!" The Televisionary Writers Workshop was one of the most valuable, most enjoyable, and most meaningful experiences I've had in my writing career.  And I promise you that's not hyperbole.  As a working television writer, Tawnya is a wealth of information — information that is current and up-to-the-minute.  Tawnya's years of teaching and private coaching experience are beyond evident, and show up in her deep wisdom, perspective, and savvy.  And all of this is delivered with clarity, humor, and an honesty that's always supportive.  This workshop is worth its weight in gold! — Blaed Spence (journalist and tv writer) __________ For more class photos, click HERE                  

at Blank Spaces
5405 Wilshire Boulevard
Los Angeles, United States

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A Summer Evening with Broadway Singer Michael Williams

A Summer Evening with Broadway Singer Michael Williams
Event on 2017-07-06 18:30:00
Broadway Singer Michael Williams will perform live at Central Library with Charles Duke as the Music Director! About Michael Williams Michael Williams attended the University of the Arts in Philadelphia and received a BFA in dance with emphasis on ballet. He has trained with Columbia City Ballet, the Alvin Ailey American dance school, Brandywine Ballet Company, Scott Jovovich, and Twyla Tharp. Michael’s Broadway credits include the revival of West Side Story, Wicked, and On the Town. He is currently working on the brand new Broadway show Charlie and the Chocolate Factory.  About Charles Duke Charles Duke, Music Director, is an award-winning songwriter, classically trained pianist, singer and composer residing in Harlem. His work fuses jazz, soul, pop, and classical elements with engaging lyrical imagery. He has performed at the Lincoln Center, in Sleep No More and for the NYCLU’s Broadway Stands Up For Freedom. As a pianist, he has been regularly engaged at the Waldorf Astoria Hotel and Robert Restaurant at Columbus Circle. Charles has produced and released four EPs and is currently working on his first album. Tickets Purchase Policy Queens Library programs are a free to the public.  In order to make the programs available to the most number of people we are limiting general admission free tickets to 2 per individual.   Multiple orders per individual are not allowed and will be cancelled.   This policy ensures that no-shows are reduced and tickets are available to the most number of people.

at Queens Library
89-11 Merrick Boulevard
Jamaica, United States

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