I was in my second year of graduate school looking for recital repertoire when I discovered Florence B. Price and her music. No. Discover is the wrong verb. One does not discover what is readily available upon caring to look.
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What brought US Soccer back from the brink? And what can opera learn from its revival?
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Linked example of my concert notes capabilities - an exploration of Romantic music by Vincenzo Bellini, Richard Strauss, and world premieres by Shase Leland Hernandez and Florence B. Price.
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With the Rubin Institute for Music Criticism back in full swing at SFCM, here is my reaction to San Francisco Opera's 2014 production of Tosca, selected as a finalist for the Audience Review Prize in 2014. #YesAllWomen, even opera divas.
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In 2016, I conducted this interview as a member of the San Francisco Conservatory of Music's Communications department. I spoke with SFCM alumnus and award-winning teacher, Scott Krijnen.
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My last semester of grad school had me digging deep into Mozartland, the confluence of studying Donna Elvira for the mainstage production of Don Giovanni and analyzing the master's music in the context of Enlightened ideals for my history class. Living with Elvira everyday, I faced this dichotomy of humor and pathetic desperation. I knew her role as the hilarious crazy ex-girlfriend meme, but at the same time I wanted to lift her out of the score, shake her vigorously, and lay on some tough love. How could Mozart let me care for her so much and yet still make her the butt of every joke?
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People talk about the death of opera, but can the birth of a pro sport give clues on how to save the genre?
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