New Orleans Opera is proud to present The Opera Guild Home Concert with Bryan Hymel and Irini Kyriakidou.
This production is generously underwritten with support from Drs. Ranney and Emel Songu Mize.
The concert is now on-demand!
To access your link after purchasing, click Download Tickets on your email confirmation. It may take several minutes to arrive in your in-box. Note to our current 2020-2021 Subscribers: You already have a link reserved for this concert! Call the Box Office if you did not receive your link. (504) 529-3000
World renowned opera stars Bryan Hymel and Irini Kyriakidou programmed this concert of their favorite operatic arias and duets to share with audiences around the world. Led by Maestro Robert Lyall, and featuring pianist Michael Borowitz and a string quintet from the Louisiana Philharmonic Orchestra, this performance takes place in the uniquely beautiful Guild Home of the New Orleans Opera. The performance includes selections from Tosca, Romeo and Juliet, and Samson and Delilah, among others. Join us for an evening of great music, including an exclusive tour of the historic Opera Guild Home and its treasures.
Robert Lyall, conductor
Irini Kyriakidou, soprano
Bryan Hymel, tenor
Michael Borowitz, piano
Musicians of the Louisiana Philharmonic Orchestra:
Kurt Munstedt, violin
Byron Tauchi, violin
Bruce Owen, viola
Kent Jensen, cello
David Anderson, bass
Featuring docents from the New Orleans Opera Women’s Guild
Sonda Stacey, President
Stephanie Sheridan, Docent Chair
In order of appearance:
Erin O’Sullivan Fleming, M.D.
Graziella de Ayerdi
Please consider making a donation at the time of your purchase in addition to the $20 ticket price to equal the seating level you would have chosen at The Mahalia Jackson Theater for the Performing Arts. For your reference, the pricing levels at the theater are listed below. You support is essential to realize our commitment to keep opera alive in New Orleans. It is through your generosity that we will continue to create beautiful music together.
Thank you for considering this extra gift as this challenging time.
Purchase your ticket online by clicking the button above or call the Box Office at (504) 529-3000 M-F, 9:00 AM – 4:30 PM.
The concert premieres on January 15, 2021 at 7:30 PM and will be available for purchase and to view until February 15, 2021.
The link to view will be mailed on Friday, January 15, 2021 – if you purchase after the premiere date the link will be available in your print at home ticket that comes to you with your purchase confirmation.
A message to subscribers: Your link to view this concert is secured with your subscription and will be emailed to you on January 15, 2021. If you are not sure how to view the concert, please email firstname.lastname@example.org and someone will call you!
This recorded production will be available online via YouTube. Please make sure you are able to access this platform before making your purchase. If you cannot watch on January 15, the link you will receive will be active for one month and you may view it at any time during that period. Tickets will be available to purchase until February 15, 2021.
Single Ticket Concert Pricing Levels for Your Donation Reference.
Staff of the New Orleans Opera Clare Burovac, General Director Robert Lyall, Artistic Director Gina Klein, Director of Operations Keith Christopher, Technical Director Joanna Sternberg, Director of Development Sarah McCall, Director of Production Carol Rausch, Chorus Master/Music Administrator Janet Wilson, Director of Public Relations & Marketing Devin Johnson, Patron Services Manager Jenny Chapman, Support Group Liaison Dylan Trần, Marketing Coordinator Emily Barber, COVID Officer
For more information about the New Orleans Opera Women’s Guild, please contact email@example.com Singers for the New Orleans Opera are represented by the American Guild of Musical Artists. All protocols for the making of this film were in full compliance with the City of New Orleans guidelines and regulations.
In this time of uncertainty, there are many things that remain unknown. But here’s what I know for sure: without you, the New Orleans Opera would be in peril. Your quick actions to renew your opera subscription and to show your support for our efforts to sustain our beloved company during this pandemic are, simply put, inspiring.
Clare Burovac, General Director
Ms. Jo-Ann C. Adams
Dr. and Mrs. Kenneth N. Adatto
Doug and Mary Albert
Mrs. Mathe Allain
Mr. and Mrs. Allain C. Andry III
Mr. and Mrs. John Ariail
Ms. Paula Armbruster
Mrs. Sara P. Attaya
Mr. Wayne Aucoin
Ms. Betty Albert Avery
Ms. Karen Babin
Mrs. Ann Babington
Mr. Gary Bair
Ms. Susan M. Barrosse
Ms. Penny Baumer
Jerry W. Zachary* and Henry Bernstein
Dr. Martha J. Beveridge
Mr. and Mrs. Dale C. Biggers
Mr. and Mrs. William Bivens
Ms. Linda B. Brasset
Mr. Peter R. Brigandi Jr.
Drs. Andrea and Archie Brown
Mrs. Jerry A. Brown
Ms. Georgia M. Bryant
Mr. Byrd M. Buffington, Jr.
Dr. and Mrs. I. Emett Burnett Jr.
Mr. and Mrs. Ralph Cadow
Dr. Robert J. Cangelosi
Mr. and Mrs. A.J. Capritto
Amy L. Carbonette-Cioll
Ms. Dianne L. Caverly
Mr. Vance Ceaser
Mrs. Loredana Chapman
Mr. R. Levich and Ms. C. Chase
Mr. and Mrs. Frederick Christian
Mr. William G. Clark
Mr. Donald M. Clement
Mr. Charles H. Coates Jr.
Mr. William C. Coe Jr.
Dr. Kellene Cole
Mr. and Mrs. Guy B. Corbett
Dr. Raquel Cortina
Dr. William T. Cotton
Mr. Matthew Cowan
Mr. Arthur A. Crais Jr.
Ms. Dana Cruthirds
Ms. Susan Danielson
Mr. and Mrs. Thomas S. Davidson
Ms. Daniele Denis
Ms. Laura J. Donnaway
Dr. Dianna Douglas
Dr. and Mrs. Charles L. Dupin
Dr. Jean-Farere Dyer
Mr. Wendell Eatherly
Mr. and Mrs. Elroy W. Eckhardt
Ms. Carol Etter
Ms. Deborah Jan Fagan
Ms. Debra L. Fagnano
Ms. Celia Foard
Prof. Robert Force
Mr. John Ford
Rev. Peggy Foreman
Dr. and Mrs. J.M. Fortino
Ms. Lori Freehling
Mr. and Mrs. John Guapp
Mr. Emmet Geary Jr
Mr. Michael Giafagleone
Ms. Joanna Giorlando
Mr. and Mrs. Bruce A. Gordon
Dr. Larry Gray
Ms. Amanda Green
Mr. and Mrs. Michael C. Grumich
Ms. Merle Guerin
Brian and Darlene Guillot
Mr. James C. Gulotta, Jr. and Mrs. Susan Talley
Ms. Jessica Hack
Mr. Charles Hadley
Mr. and Mrs. Allan Halbert
Mr. and Mrs. Charles J. Hanemann Jr.
Mr. and Mrs. Seth Harris
Ms. Adrea D. Heebe
Mr. Raymond A. Heitger
Mr. and Mrs. Timothy Hemphill
Ms. Deborah Henton
Ms. Barbara G. Hightower
Ms. Lila Hogan
Mr. and Mrs. Don Wayne Hoppens
Mr. and Mrs. John Howland
Dr. Jean Y. Hurley
Mrs. Linda Ibert
Mr. and Mrs. Erik F. Johnsen
Hon. Bernette Johnson
Mr. Arthur M. Kastler
Ms. Patricia Kennedy
Ms. Ruth E. Kennedy
Elizabeth & James Landis
Dr. Cynthia Langford
Mr. and Mrs. V. Price LeBlanc Jr.
Mr. and Mrs. Edward F. LeBreton III
Mr. Donald I. Levy
Maline and Ronald Berenger
Mr. Dwayne O. Littauer
Mr. John Lombardo
Dr. William M. Long
Mrs. Kathleen C. Lorenz
Mrs. Jacquelyn Lothschuetz
Ms. Isley Lundgren
Mr. Michael Lyons
Mrs. S. Ann Mahorner
Ms. Kathleen A. Manning
Ms. Joanne Mantis
Mr. Anthony Marino
Ms. Nancy K. Marks
Ms. Patricia P. Marse
Mrs. Charlene G. Marsiglia
Mr. Edward F. Martin
Mrs. Stanley Marx
Mr. and Mrs. Rick Mattei
Ms. Barbara Smith Maumus
Mr. and Mrs. James McCarty
Ms. Tanya Mennear
Mrs. David H. Mielke
Karen and Frank Milanese
Ms. Sonja Mistretta
Drs. Emel Songu and Ranney Mize
Ms. Cynthia Molyneux
J. Edgar Monroe Foundation
Ms. Sonya K. Moore
Mr. Benjamin H. Motion
Ms. Kristyn Murray
Mr. Wm and Dr. C. Murray
Ms. Rachel Nettles
Mr. and Mrs. Eric Nye
Dr. and Mrs. Henry D.H. Olinde
Mr. and Mrs. John Olinde
Ms. Rita Olmo
Mr. and Mrs. Mark Otts
Dr. and Mrs. Vernon V. Palmer
Ms. Sophia G. Pappas
Mrs. Ivonne Patin
Mr. and Mrs. Robert B. Patout
Dr. and Mrs. John T. Patterson
Mr. and Mrs. Rawley M. Penick III
Mr. Diego Ernesto Perez Ramos
Mr. and Mrs. Robert L. Pettit Jr
Gerald & Patricia Price
Dr. Carolyn Clawson Prickett
Ms. Beverly Rainey
Mr. Robert Redfearn
Mr. and Mrs. William D. Reeves
Ms. Sally E. Richards
Ms. Sally Richardson and Mr. Ronald J. Scalise Jr.
Dylan has many titles with New Orleans Opera! Among them: Chorister, Marketing Coordinator, Filmmaker, and Composer. Grab a cup of coffee, sit back, and enjoy reading about his musical journey…so far.
New Orleans Opera:
Thank you for letting us all get to know you a little better Dylan! Let’s kick it off at the beginning – tell us about your journey to a music filled life?
“In elementary school I was cast as Mowgli in a community theatre production of The Jungle Book. Unfortunately my family, the theatre, and I were all convinced that I was tone deaf. To be fair, I couldn’t match pitch to save my life. They changed half of my singing lines to spoken, gave the other half to other characters, and left me a single singing line: “The bees are buzzing in the trees to make some honey… just for…”, which I butchered at every performance. I was so embarrassed that I totally gave up on any hope of being a musician after that. Years later, however, I discovered My Chemical Romance, Fall Out Boy, Panic! at the Disco, and other pop-punk bands. They ignited something in me and I began saving up money for instruments, teaching myself guitar, piano, whatever I could get my hands on. I remember desperately wanting to learn the drums as a teenager, but we couldn’t afford a drum set. I knew that the local community theatre had a drum set though, so I lied about being able to play and offered my “services” in the orchestra pit for free. When they said yes, I was so excited.
“Yes! I’ll get to play a real live drum set! Whelp, I better go learn how to do that…”
I spent hours every night leading up to the first rehearsal on YouTube, absorbing as much information about drums, drummers, and drumming as I could, practicing on pots and pans, books and boxes, and my own body. When I showed up to that first rehearsal, adjusted the throne, and sat myself behind the drum kit, none were the wiser…
In my experience, teaching yourself drums and guitar is much easier (and much less expensive) than teaching yourself an orchestral instrument, so unfortunately I wasn’t equipped to participate in band or orchestra in high school. I resigned to the choir room and to after school theatre, this time with a bit more vocal facility, where I discovered my love for singing. My affair with opera began shortly after, when I stumbled into an audition for The Magic Flute my freshman year at Loyola, not knowing what opera even was or why this Mozart guy was such a big deal…”
How long have you been working with NOOA? And please tell us about your different roles within the company:
In 2014 I got a text from Carol Rausch asking if I was available to sing in the chorus for NOOA’s Le Nozze di Figaro. My college roommates can confirm, I yelped with excitement. I was 20 years old, a sophomore at Loyola, I had only just discovered (and fallen in love with) what opera even was the year before… and yet here I was with an opportunity to perform with a professional opera company! I’ve been so fortunate ever since to sing comparario roles, sword fight, learn martial arts, ballroom dance, cover roles, etc. all on the Mahalia Jackson Stage.
One of my personal highlights as a vocalist was in our 2018 production of Terrence Blanchard’s Champion. Not only was it an honor to sing in a production by Blanchard, a living legend, but I found myself in a comprimario role that included a full duet scene with the main character! Our scene ended in a big kiss and I’ll never forget the hooting and hollering of local teens coming from the house during our Student Night Out orchestra dress.
After some time I realized that, while I was gaining valuable experience through performing with Loyola, NOOA, Krewe de Voix, the Marigny Opera House, the LPO, church choirs, and many other performance organizations throughout this amazing city… I wasn’t learning much about the business of music. I knew if I wanted to be successful, I needed to pick up that slack. Serendipitously a marketing internship opened up at NOOA. I applied, worked my butt off, and the next year we negotiated a part-time position. Now I get to work with the amazing staff at NOOA, meet so many wonderful members of our New Orleans community, and share with the world some of the things I love most: music and the people who make it possible.
Do you ever have internal struggles/conflicts while working on both the administrative and artistic side of the the company at the same time?
I try to be thoughtful about working on the administrative and artistic side of things simultaneously. In the ‘19-’20 season I was in the choruses of both Carmen (Bizet) and Joan of Arc (Tchaikovsky), while also “premiering” my staff role as Marketing Coordinator. Balancing my chorus duties with my marketing duties isn’t always the easiest thing to do… in many rehearsals I would be singing high As alongside the other tenors one moment, then I would run off stage to take photos of the principals the next moment. Occasionally I wouldn’t be able to sing with the rest of the chorus for certain passages in rehearsals, so that I could ensure our video/audio gear was recording the content that we needed for promoting these productions. It then becomes even more imperative that I’m doing the sufficient preparation on both ends, to make up for having responsibilities in multiple areas.
Dualities are in my blood, though. Being of mixed race, having a father who was an immigrant from Viet Nam and a mother who is a Louisiana native, I have been raised having to navigate two cultures and two lived experiences. Even in college I was both a conductor and an ensemble member, both a performer and a composer, spending my afternoons in opera rehearsals before running to bars to play with my rock band in the evening. My family comes from poverty and yet I work in this affluent field. I spend my time studying the folk songs of Pham Duy, the orchestrations of Maurice Ravel, the lyrics of Childish Gambino, etc. While I acknowledge the difficulty of balancing seemingly juxtaposing responsibilities, I have to admit that for me there is a comfortability, even a preference at this point, in existing in and moving between these different worlds.
And now on to your art! The Song of Songs, tell us about the inspiration for this piece. What has been foremost in your mind about seeing and hearing it with a live audience for the first time?
As soon as the pandemic was on the news, I knew that opera was going to have to adapt. I immediately started brainstorming different ways that these traditional pieces could be adapted to be socially distanced. But then I thought… why try to adapt these traditional works, when you could create new works specifically to be socially distanced? Throughout history composers have adapted their music to meet the needs of the medium in which it was being performed. Why should this be any different?
As for the subject matter, I have always found the Song of Songs to be a deeply beautiful text. During lockdown, when I and many others were forced into quarantined solitude, I found myself longing for the kind of intimacy present in the Song of Songs. I feel that the very intimate language in that text, these things that you would whisper into a lover’s ear from centimeters away, take on a different meeting when your forced to say them from 6ft apart (or, in the case of our AGMA Safety Stipulations, the sing them from 15ft apart).
The piece is written specifically to meet COVID safety guidelines. There is minimal orchestration (only a cellist and a violinist), only two soloists, and an optional small chorus.
The different singers are socially distanced and the music is written in a way that is conducive to this- taking inspiration from the antiphonal courting practice of the indigenous Hmong people in the mountains of North Vietnam, antiphonal Gregorian chants, and harmonies that very in complexity in relation to the physical closeness of those players. When musicians are in close proximity the harmony is more modulatory, but when the texture is more antiphonal the harmony eases into minimalism to better facilitate a satisfying aural experience.
Do you have a vision for this piece beyond its recent November 8th debut with our Opera Nouvelle concert at NOMA?
“Every piece you write is practice for the next piece.” I can’t remember who said it, but those are words I live by. The best I can hope for this piece is that it informs my future writing, socially distanced or otherwise.
That being said, because this piece was meant as a way to make live opera possible in a COVID world, I have sent Song of Songs off to a couple companies around the US for review. I have also sent several excerpts to individual musicians around North America for potential performance and/or recording of the antiphonal a capella duets and solo arias.
Will you please stay and work in marketing for NOOA even after you are a famous composer?
LOL, who knows what the future holds! All I can say is that I consider myself endlessly fortunate to be a part of this company right now. The staff has been a dream team as we explore new and different ways to share the art of opera, and our community has been so receptive to our efforts. I always feel encouraged by my boss(es) to explore my creativity in every avenue of my interest and the team is always there to help and support- an absolutely invaluable opportunity in my growth as a professional, an artist, and a person.
I’m one of the composers on this really cool virtual concert.
White Snake Project has collected stories from essential workers about their experiences working on the front lines – from medical personnel, hospital housekeepers, grocery store workers, delivery people, and others – what they do, how they’ve been coping, their hopes, their fears, their families and their despair – anything they’re moved to write about. They’ve paired their texts with composers to make songs about working in pandemic times so that the rest of us can be safe.
The concert you’ll be attending features LIVE singing by our two singers and LIVE playing by our cellist and pianist as they perform in the safety of their homes. We’re building on technology developed by Jon Robertson, our audio engineer, for Alice in the Pandemic which allows artists to perform live synchronously from remote locations.
It’s a great experience to enjoy during the holidays, for birthdays, or to celebrate any special event. A half-hour concert is $350 (includes a tax-deductible donation to New Orleans Opera). Does that sound like a lot? Gather some friends and share the cost (please be mindful of COVID limits, however!)
New Orleans Opera and Loyola University have a long and rich relationship, with a history of many partnerships, including Masterclasses. We are proud to collaborate again this year in the virtual environment, and we are excited that we can invite you to join us.
Masterclasses play a very important role in the development of a young singer. According to Fred Plotkin, “Masterclasses are one of the most fascinating aspects of the process of taking talented but inexperienced young singers and trying to polish and mold them while allowing them to retain what makes them special.”
Antonio Domino, tenor Julianna Espinosa, soprano Julia Tuneberg, soprano Jeremiah Tyson, tenor
About Jane Eaglen:
Jane Eaglen has enjoyed one of the most formidable reputations in opera for the past two decades. Her performances of roles such as Isolde in Tristan und Isolde, the title roles in Puccini’s Turandot, Bellini’s Norma, and Strauss’s Ariadne auf Naxos, and Brünnhilde in Wagner’s Der Ring des Nibelungen have earned her acclaim on stages of the leading opera houses of the world, including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Royal Opera House, Covent Garden, Teatro alla Scala, Vienna State Opera, and l’Opéra National de Paris.
Greer Grimsley is internationally recognized as an outstanding singing actor and one of the most prominent Wagnerian singers of our day. Continuing his reign as a leading interpreter of the god Wotan, he sang the eminent role once again in the Spring of 2019 for the Metropolitan Opera’s Der Ring des Nibelungen in the reprisal of Robert Lepage’s landmark production from 2013. New Orleans is lucky to have Greer and his family call the city home!
We are replacing our in-class engagements with an engaging program, where the students learn about singing, opera history, and then, they create their own opera scenes at home. We will provide a step by step manual – written at a 6th grade level for accessibility – as well as an accompanied video that leads them through the project with physical and vocal exercises. The goal is to have them film their scenes at home, and then, via google classroom, they’ll send them to us. We edit these videos into one short clip and then we’ll share it back with the class for a GRAND FINALE!
Students can create scenes from the following famous operas:
The Barber of Seville
The Pirates of Penzance
The Marriage of Figaro
The Magic Flute
This program can be used any way you see fit!
You can make it a part of the curriculum, you can use it for extra credit, you can choose only one opera for everyone to focus on, or you can do all of them. It is entirely up to you. We built the program for students to distribute throughout an academic week – every day building on the skills from the previous day- requiring only about 15 minutes a day.
This study guide packet will serve three purposes:
It will PROVIDE all kinds of interesting information about each larger work (opera, operetta or musical), including plot and character descriptions.
It will EXPLAIN our unique re-telling of the story line within each scene.
It will give CONTEXT regarding the historical period of each work, and your students will also have an opportunity to learn about the composers!
William Mouat and Taylor Ott, Project Artistic Director and Executive Editor.
Hayden Guthrie, Amanda McCarthy, Taylor Ott, Rachel Looney, Imani Sarai Francis, Mark Anthony Thomas, and Frank Convit. Click the Study Guide button above for artist bios, full program outline, and more!
Join us at the Broadside for Bergman’s The Magic Flute and a concert at highlighting the genius and variety of Mozart’s compositions, sung by New Orleans Opera singers. The concert is at 6:00 pm followed by the movie at 6:30. The tickets are $30 per person.
The Broadside is the sister business of The Broad Theater and is located at 600 N. Broad St., New Orleans, LA 70119. It’s an open air venue with a full bar, hot dogs and popcorn! They are following all Covid-19 safety rules (masks required). The seats are paired and safely distanced.
Be among the first to hear New Orleans Opera news.
ABOUT THE MOVIE
Ingmar Bergman’s 1975 production of Mozart’s The Magic Flute, originally made for television, has been re-released several times for Bergman retrospectives and was beautifully restored by the Criterion Collection.
“Bergman’s production is a cool, frank presentation of the opera, an imagined theatrical performance that begins by looking at members of the audience in turn, but in the course of the action periodically returning to a single young girl’s smiling or thoughtful face – infrequently enough for us to realize that we had forgotten about her, and that another, quieter narrative is running alongside the story: that of this girl’s enjoyment and judgement.
To see a clip and read more about the production including the cast, click here.
ABOUT THE BROADSIDE
“Local drive-in movie and concert events have sold-out quickly since the pandemic shutdowns began, but it’s restaurants that got The Broad Theater’s Brian Knighten thinking about opening an outdoor venue. When the city of New Orleans announced in May that restaurants could apply for permits to have outdoor seating, he started planning.”