It creates opportunities for everybody to participate. It’s dance, it’s orchestral playing, it’s design, costumes, lighting and sets. It’s not only music, it’s not only language and storytelling. It’s a unification of all of the art forms. Those singers are going on to sing at the Met, sing in Vienna at the Staatsoper, sing in Berlin, sing all over the world, and we can always say we gave them one of their first big career opportunities that set them on their paths. And we now have the Herndon Foundation Emerging Artist Program, which attracts nearly 600 applicants yearly for only 15 to 20 spots in our program. A lot of big name singers on the scene right now made their start in Virginia Opera, Renee Fleming, a very famous soprano who’s known internationally. Virginia Opera provides a unique platform for young, up-and- coming talent. What sets Virginia Opera apart from other companies? My goal in reaching young people is showing them that there are alternatives to their devices and their digital platforms. I find that when I have a moment to unplug and connect into something bigger than myself … that when I’m able to connect with something more profound and more meaningful, that I have a better time. How do you plan to grow the audience and draw in younger people? In his new position, Maestro Turner hopes to advance opera’s role in the lives of young people. ![]() Ever since his start with the Virginia Opera back in 2010 as a conductor, Maestro Adam Turner has overseen stellar performances from Der Freischutz and Sweeney Todd to Carmen and La Boheme.
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