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PROFESSIONALS, FOUNDERS, STARTUPS AND SMALL BUSINESS OWNERS
(Santa Fe, NM) In case you've missed it, Operamusica.com may be the latest must-have tool for those working in the opera and classical music worlds. If you're an established artist (or lucky enough to count yourself among the Santa Fe Opera Apprentices, or any other Young Artist Program like those at Glimmerglass, Merolaor Fabricca | Opera di Roma), you might consider joining this exciting new social network built just for you. Based in Paris, France, and with global reach, Opera Musica aims to be the first social network dedicated to the opera and classical music industry. Celebrating 3K followers in late July, as well as a recently launched 2.0 version, it's currently free for artists, fans, presenters, companies and industry professionals to join. OM also features the latest opera news from major global sources and partners, as well as deep search capability for videos, artist profiles, and up to the minute opera and classical music events around the world. My assessment: Opera Musica is similar to an early version LinkedIn. Consider Twitter circa 2009, remember that? If you're working across the opera and classical music spaces, join today. You heard it here first. I've had the pleasure of connecting with Opera Musica's Pablo and his business partner Mathieu Abelli. Their passion for their product, consistent goodwill across social, and infectious entrepreneurial drive comes through - I hope to meet them in person the next time I'm in Paris. Operamusica.com isn't a client, but we love their startup tech + social media innovation, helping artists tell their brand stories here, now, and into the future. Bravi. JM
VISIT Operamusica.com, and their Twitter, Instagram, and Facebook accounts.
(San Francisco, CA) - Glad to have been connected to soprano Courtney Ruckman via Twitter and Instagram since 2015. Florida-based and a Nashville Opera Young Artist, I connected with Courtney through her weekly #singchat tweetups with opera singers from around the country and world.
So pleased to come across Courtney's recent video performance of 'Caro Nome' from Verdi's "Rigoletto," a favorite opera in my ongoing opera journey. My first exposure to this particular piece was through Santa Fe Opera's 2015 production, but I'd love to see Courtney in a fully staged production as Gilda; Courtney has already sung this role in Pacific Northwest Opera's 2013 production, Entertainment News NW saying, "you cannot help but fall in love with Courtney Ruckman as Gilda. Her voice quality was superb...her solos were magnificent." Courtney has also performed this role in preview scenes for Seattle Opera Guild (2014), and covered Gilda for Opera Coeur d'Alene (2013), respectively. Reached by direct message, Courtney added: "(Gilda) is a beloved role, I'm dying to sing it again! I offered (Caro Nome) for auditions, but hadn't performed (this particular piece) in almost two years. This video was a return after a break from singing it."
In June 2017, Courtney took her world-premiere role as Jessie in Nashville Opera's and American Opera Project's co-production of "Three Way" to New York City, for four (4) performances of this new work by composer Robert Paterson, with a libretto by David Cote. Described as "'Sex and the City' meets 'Black Mirror'...this new opera imagines the present and future of sex and love." Next season, Courtney's engagements include a solo turn in Handel's 'Messiah' with the Walla Walla Symphony. Brava, Courtney! Connect with Courtney on Twitter and Instagram, and visit CourtneyRuckman.com. JM
Original version published May 23, 2017 on Instagram.
(Santa Fe, NM) We always expect opening night at Santa Fe Opera to be spectacular - a beautiful evening sky, happy people, a buzz in the air, seeing opera friends from seasons past and present. But this season opening of "Die Fledermaus" was different from the moment the orchestra starting playing our National Anthem. Whether it was MAGA or RESIST, we all felt deeply, the eyes of many, including mine, filled with tears.
#sfoFledermaus was presented in English, which completely worked - a huge win for those unaccustomed to opera (hello, visiting dignitaries). This gorgeous Ned Canty-directed production is the perfect gateway to more traditional repertory looking like a million bucks onstage (thanks to scenic designer Allen Moyer, costume designers Zack Brown/Christianne Myers, & lighting designer Duane Schuler), with Maestro Nicholas Carter expertly driving his orchestra. In case you don't know already, this operetta plays like a clever Broadway comedy, so if considering SFO this summer, especially if you have kids, look no further.
Most of the action centers around Rosalinda (Devon Guthrie), a bored/suspicious wife, her once upon a time beau & intentionally hilarious aria belter Alfred (Dimitri Pittas), Rosalinda's maid Adele (Jane Archibald), Rosalinda's husband, Gabriel Von Eisenstein (Kurt Streit) & a wonderfully wicked Dr Falke, played to the hilt by Joshua Hopkins. Thrilled to see soprano & friend Adelaide Boedecker on stage as Ida, Adele's party girl sister with 'wow' vocal skill, comic timing & the ability to make it all look easy (when it certainly isn't).
Let's talk about Kevin Burdette. Heck to the Yeah. Kevin is Frosch, the inept jailer to David Govertsen's Frank, his prison warden boss (who's also a delight). Kevin doesn't sing much, but his brilliant word play, timing, physical comedy & onstage agility recalls Tim Conway in his The Carol Burnett Show prime.
Star mezzo-soprano Susan Graham's Prince Orlovsky is luxe casting and a LOL joy; she's also delightfully gender fluid and ends up with a fun love match who doesn't sing much (hint, hint). Seán Curran Company choreography and dancers ruled our Russian party pad & jail, incredible talent and innovation. #OnlyAtSFO, my friends. JM
Original version published July 8, 2017 on Instagram.
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