Tech Setup: Wednesday, October 21st, 11:30am - 12:30pm CT
Topic: TECH SET UP - PATRICK & PERRYN TSD DOCUMENTARY
Time: Oct 21, 2020 11:30 AM Central Time (US and Canada)
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Time: Oct 21, 2020 11:30 AM Central Time (US and Canada)
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Perryn Interview: Wednesday, October 21st 12:30 - 1:30pm CT
Topic: PERRYN - THE SNOWY DAY DOC INTERVIEW
Time: Oct 21, 2020 12:30 PM Central Time (US and Canada)
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Time: Oct 21, 2020 12:30 PM Central Time (US and Canada)
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Patrick Interview: Wednesday, October 21st 1:30 - 2:30pm CT
Topic: PATRICK - THE SNOWY DAY DOC INTERVIEW
Time: Oct 21, 2020 01:30 PM Central Time (US and Canada)
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Time: Oct 21, 2020 01:30 PM Central Time (US and Canada)
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Perryn Leech Interview Topics
1. Introduction: name, your role in the company
2. Who has traditionally been invited to opera, and how do you see this evolving? In terms of creators, audience, and donors.
3. What role does HGO play in the world of opera at large, and in the Houston community? What kinds of audience (and donor) relationships are you seeking to build with works like The Snowy Day? (hand off to Kiana)
4. Why is BIPOC representation on the stage and on creative teams important to opera, to the arts, to our communities? Can you talk about HGO’s commitment to this (in your broader work, in The Snowy Day)
5. How has COVID impacted live performance arts, and HGO? (establishing, giving context to the digital season).
6. How did you develop the COVID protocols being used in live rehearsals (including partnership with Houston Methodist)
2. Who has traditionally been invited to opera, and how do you see this evolving? In terms of creators, audience, and donors.
3. What role does HGO play in the world of opera at large, and in the Houston community? What kinds of audience (and donor) relationships are you seeking to build with works like The Snowy Day? (hand off to Kiana)
4. Why is BIPOC representation on the stage and on creative teams important to opera, to the arts, to our communities? Can you talk about HGO’s commitment to this (in your broader work, in The Snowy Day)
5. How has COVID impacted live performance arts, and HGO? (establishing, giving context to the digital season).
6. How did you develop the COVID protocols being used in live rehearsals (including partnership with Houston Methodist)
Patrick Summers Interview Topics
1. Top of show script
2. The story of how HGO came to adapt The Snowy Day – this is an opportunity to name anyone instrumental in the selection of this book (Joel mentioned Julia Bullock?), as well as a hand-off to the EJK Foundation.
3. What makes The Snowy Day such a good fit for a new opera? Can you briefly describe/establish the book?
4. How did you first meet Joel? – The Aspen Music Festival, your impressions of him as a composer, why he is the right fit for this work, his significance to the world of composition.
5. What is musically significant about Seven Last Words, and how does Joel’s work on that piece connect to his work on The Snowy Day?
6. How did you find Andrea? – Another possible hand off to the EJK Foundation, the job of a librettist, what her storytelling and prose style brings to this opera.
7. What is the collaborative process of creating opera, and what has been unique about this process on The Snowy Day? Hand-offs to other members of the creative team that we’re meeting on camera: Perryn, Omer, Jeremy, others?
8. Hand-off to working with the EJK Foundation
9. The history of opera since WWII, and where The Snowy Day fits on this trajectory
10. Why are new works important?
11. What role does HGO play in the world of opera at large, and in the Houston community? What kinds of audience (and donor) relationships are you seeking to build with works like The Snowy Day? (hand off to Kiana)
12. Why is BIPOC representation on the stage and on creative teams important to opera, to the arts, to our communities? Can you talk about HGO’s commitment to this (in your broader work, in The Snowy Day)
2. The story of how HGO came to adapt The Snowy Day – this is an opportunity to name anyone instrumental in the selection of this book (Joel mentioned Julia Bullock?), as well as a hand-off to the EJK Foundation.
3. What makes The Snowy Day such a good fit for a new opera? Can you briefly describe/establish the book?
4. How did you first meet Joel? – The Aspen Music Festival, your impressions of him as a composer, why he is the right fit for this work, his significance to the world of composition.
5. What is musically significant about Seven Last Words, and how does Joel’s work on that piece connect to his work on The Snowy Day?
6. How did you find Andrea? – Another possible hand off to the EJK Foundation, the job of a librettist, what her storytelling and prose style brings to this opera.
7. What is the collaborative process of creating opera, and what has been unique about this process on The Snowy Day? Hand-offs to other members of the creative team that we’re meeting on camera: Perryn, Omer, Jeremy, others?
8. Hand-off to working with the EJK Foundation
9. The history of opera since WWII, and where The Snowy Day fits on this trajectory
10. Why are new works important?
11. What role does HGO play in the world of opera at large, and in the Houston community? What kinds of audience (and donor) relationships are you seeking to build with works like The Snowy Day? (hand off to Kiana)
12. Why is BIPOC representation on the stage and on creative teams important to opera, to the arts, to our communities? Can you talk about HGO’s commitment to this (in your broader work, in The Snowy Day)