Today's post is from Evan Milberg, Wolf Trap's Fall multimedia intern.
Two weeks ago, Wolf Trap hosted its 40th Anniversary Ball, which as in year's past was held on the grand Filene Center stage. One of the many celebrity guests was Mix 107.3’s Aly Jacobs, who was nice enough to let me film her getting a fantastic makeover from Saks Fifth Avenue just hours before the Ball. I personally had just as much fun filming and going to the Ball as she did getting the star treatment. Perhaps it was fitting for someone from a radio station that plays an eclectic mix of music to get made over for Wolf Trap, where the fashion choices are endless. From nun costumes at Sing-A-Long Sound of Music to Mardi Gras beads at our annual Louisiana Swamp Romp, you’ll never wear the same thing twice! See below for a piece I entitled, "What to Wear at Wolf Trap." As you'll see, there's no right answer!
Wednesday, September 28, 2011
Friday, September 23, 2011
Join John Eaton as he Turns Wolf Trap's Ed Center into a Jazz Piano Bar
Today's post is from our friend, John Eaton.
I am honored and delighted to be back at Wolf Trap to offer my course on the great American song writers. It's a four week class held at the Center for Education and we've still got some slots available if you're interested in broadening your knowledge on this musical era.
This year's featured composers are all superstars.
We will open on Monday evening, October 3rd with Jerome Kern, the man we call, "The Master." Kern, along with Irving Berlin, was responsible for creating the American Popular Song in the early years of the 20th century. His glorious melodies ("All the Things You Are," "Smoke Gets in Your Eyes") though rooted in the European operetta tradition were unmistakably American. This combination inspired and set the gold standard for the celebrated writers who were to follow, among them Richard Rodgers, Vincent Youmans and George Gershwin.
Cole Porter, whose work we will feature on October 17th, was more a protégé of Irving Berlin and Jerome Kern. It was Berlin's example that Porter credits for teaching him how to write songs, both words and music.
Justly famous for his superb comic lyrics as well as his romantic ones, Porter's melodies alone ("Night and Day," "Begin the Beguine") probe human emotions - passionately and profoundly.
George Gershwin, American Hero is the title for our third presentation on October 24th. It is impossible to overestimate the influence Gershwin's music had and still has not only on American music, but on music world wide.
His concert works, notably "Porgy and Bess," and "Rhapsody in Blue," remain milestones in 20th Century music. And then there are his timeless show tunes ("I Got Rhythm," "Someone to Watch Over Me," and "Of Thee I Sing.")
Being primarily an improvising player (though not, alas, a composer) I have decided to devote the final session on October 31st to a discussion of the fascinating differences and surprising similarities between these two types of musical expression.
I will take requests and within the obvious legal limits, turn the lecture hall into a jazz piano bar for an hour or so, each week.
I hope to see you on October 3rd.
I am honored and delighted to be back at Wolf Trap to offer my course on the great American song writers. It's a four week class held at the Center for Education and we've still got some slots available if you're interested in broadening your knowledge on this musical era.
This year's featured composers are all superstars.
We will open on Monday evening, October 3rd with Jerome Kern, the man we call, "The Master." Kern, along with Irving Berlin, was responsible for creating the American Popular Song in the early years of the 20th century. His glorious melodies ("All the Things You Are," "Smoke Gets in Your Eyes") though rooted in the European operetta tradition were unmistakably American. This combination inspired and set the gold standard for the celebrated writers who were to follow, among them Richard Rodgers, Vincent Youmans and George Gershwin.
Cole Porter, whose work we will feature on October 17th, was more a protégé of Irving Berlin and Jerome Kern. It was Berlin's example that Porter credits for teaching him how to write songs, both words and music.
Justly famous for his superb comic lyrics as well as his romantic ones, Porter's melodies alone ("Night and Day," "Begin the Beguine") probe human emotions - passionately and profoundly.
George Gershwin, American Hero is the title for our third presentation on October 24th. It is impossible to overestimate the influence Gershwin's music had and still has not only on American music, but on music world wide.
His concert works, notably "Porgy and Bess," and "Rhapsody in Blue," remain milestones in 20th Century music. And then there are his timeless show tunes ("I Got Rhythm," "Someone to Watch Over Me," and "Of Thee I Sing.")
Being primarily an improvising player (though not, alas, a composer) I have decided to devote the final session on October 31st to a discussion of the fascinating differences and surprising similarities between these two types of musical expression.
I will take requests and within the obvious legal limits, turn the lecture hall into a jazz piano bar for an hour or so, each week.
I hope to see you on October 3rd.
Thursday, September 22, 2011
News & Notes: Sept. 21: The Wolf Trap Ball, Tony Bennett's 75th Album and Washingtonian Style Setters
This past Saturday night a crowd of some 800 plus gathered on the Filene Center stage to celebrate Wolf Trap's 40th anniversary at the annual Ball.
You can find some great photos on Washingtonian's After Hours blog and on the website of Washington Life.
For this year's Ball we had an opportunity to provide a fabulous make-over at Saks Fifth Avenue for special guest Aly Jacobs from the Mix 107.3 Jack Diamond Morning Show, courtesy of media partner DC Magazine. Aly gave some details leading up to the Ball on her blog here, and we'll have more in a video coming this week - stay tuned.
Wolf Trap Board Member and fan favorite Tony Bennett released his new album yesterday, Duets II. The new release, Bennett's 75th album, features duets with some artists familiar to Wolf Trap, including Aretha Franklin, Willie Nelson and Alejandro Sanz.
Finally, did you know Wolf Trap president and CEO Terrence Jones is one of Washington D.C.'s 2011 Style Setters as selected by Washingtonian magazine.
You can find some great photos on Washingtonian's After Hours blog and on the website of Washington Life.
For this year's Ball we had an opportunity to provide a fabulous make-over at Saks Fifth Avenue for special guest Aly Jacobs from the Mix 107.3 Jack Diamond Morning Show, courtesy of media partner DC Magazine. Aly gave some details leading up to the Ball on her blog here, and we'll have more in a video coming this week - stay tuned.
 |
| Tony Bennett at Wolf Trap 2007 |
Wolf Trap Board Member and fan favorite Tony Bennett released his new album yesterday, Duets II. The new release, Bennett's 75th album, features duets with some artists familiar to Wolf Trap, including Aretha Franklin, Willie Nelson and Alejandro Sanz.
Finally, did you know Wolf Trap president and CEO Terrence Jones is one of Washington D.C.'s 2011 Style Setters as selected by Washingtonian magazine.
Wednesday, September 21, 2011
How I Spent my Summer Vacation, Part 3
This post comes from Jacqui Johnstone, Wolf Trap’s public relations intern for Summer 2011.
At Wolf Trap, mid-September means the end of lawn rushes, picnic dinners, and nearly 100 concerts under the stars at the beautiful Filene Center. But this time of the month also means the beginning of autumn and the approach of a new season at The Barns.
In honor of summer officially coming to a close on September 23, I’d like to dedicate this blog post to Wolf Trap, who made Summer 2011 the most educational and beneficial summer of my life.
My experience as Wolf Trap’s public relations intern this past summer could not have been better. I worked closely with Graham (we even shared an office!) on a daily basis to enhance Wolf Trap’s media coverage and social media presence. I think that probably the best thing about this internship was the amount of responsibility with which I was entrusted. I wasn’t given any run-of-the-mill jobs like fetching coffee or making copies; I had real duties that definitely contributed to Wolf Trap’s overall success this summer.
Me in the middle enjoying a Children's Theatre-in-the-
Woods performance with two fellow interns
Writing skills can always be improved upon, and I certainly improved mine during my time at Wolf Trap. Each week, I wrote a press release detailing the following week’s performances which was then sent out to over 500 media contacts. These could range from 500 words to over 2,000 depending on the week and ingrained Wolf Trap’s style guide into my memory. I also wrote a number of artist biographies for the programs that are handed out at shows, which had a different tone but required similar research. Finally, I contributed to the blog a few times, which again had a different tone and required more creativity.
I also learned a lot about using social media as a marketing tool. If you’re a fan of Wolf Trap on Facebook (which you should be if you’re reading this blog!), you may have noticed that we posted status updates about that night’s performer for nearly every show. Most of those posts came from Wolf Trap’s copywriting intern Allison Killam and myself. As the summer progressed, I saw which posts generated more feedback and continuously worked on generating creative posts that would catch people’s eye. I also worked with the marketing department to promote certain things, such as Wolf Trap deals with Groupon and Living Social or our “Princesses and Pirates Day” at the Reston Water Mine. I did the same with Twitter.
Another valuable lesson I learned was how to pitch story ideas to reporters. I hadn’t had experience doing this before, but was given the chance to try it out and received really helpful feedback from both Graham and Melissa about working with journalists. It was a great feeling to be successful in this aspect and see a story in print that you pitched to a reporter, like I did with this story on Michael Kennen-Miller from the cast of Fiddler on the Roof.
I learned so much at Wolf Trap that I can’t even fit it all into this one blog post. I didn’t even get to mention the fact that this job came with a number of amazing perks—it was paid (you’d be surprised at how few internships are), we got to watch the opera company sing every Wednesday at lunch, AND we received complimentary lawn tickets to almost every performance at the Filene Center. Could I ask for anything more?
Anytime a professor or family friend asks me what I did this summer, I feel very proud to tell them that I was an intern at Wolf Trap—and they are always impressed. I can’t help but feel confident that potential employers will be just as impressed when I start looking for jobs next spring, and am more than grateful to have my experience at Wolf Trap to thank for that.
At Wolf Trap, mid-September means the end of lawn rushes, picnic dinners, and nearly 100 concerts under the stars at the beautiful Filene Center. But this time of the month also means the beginning of autumn and the approach of a new season at The Barns.
In honor of summer officially coming to a close on September 23, I’d like to dedicate this blog post to Wolf Trap, who made Summer 2011 the most educational and beneficial summer of my life.
My experience as Wolf Trap’s public relations intern this past summer could not have been better. I worked closely with Graham (we even shared an office!) on a daily basis to enhance Wolf Trap’s media coverage and social media presence. I think that probably the best thing about this internship was the amount of responsibility with which I was entrusted. I wasn’t given any run-of-the-mill jobs like fetching coffee or making copies; I had real duties that definitely contributed to Wolf Trap’s overall success this summer.
Me in the middle enjoying a Children's Theatre-in-the-Woods performance with two fellow interns
Writing skills can always be improved upon, and I certainly improved mine during my time at Wolf Trap. Each week, I wrote a press release detailing the following week’s performances which was then sent out to over 500 media contacts. These could range from 500 words to over 2,000 depending on the week and ingrained Wolf Trap’s style guide into my memory. I also wrote a number of artist biographies for the programs that are handed out at shows, which had a different tone but required similar research. Finally, I contributed to the blog a few times, which again had a different tone and required more creativity.
I also learned a lot about using social media as a marketing tool. If you’re a fan of Wolf Trap on Facebook (which you should be if you’re reading this blog!), you may have noticed that we posted status updates about that night’s performer for nearly every show. Most of those posts came from Wolf Trap’s copywriting intern Allison Killam and myself. As the summer progressed, I saw which posts generated more feedback and continuously worked on generating creative posts that would catch people’s eye. I also worked with the marketing department to promote certain things, such as Wolf Trap deals with Groupon and Living Social or our “Princesses and Pirates Day” at the Reston Water Mine. I did the same with Twitter.
Another valuable lesson I learned was how to pitch story ideas to reporters. I hadn’t had experience doing this before, but was given the chance to try it out and received really helpful feedback from both Graham and Melissa about working with journalists. It was a great feeling to be successful in this aspect and see a story in print that you pitched to a reporter, like I did with this story on Michael Kennen-Miller from the cast of Fiddler on the Roof.
I learned so much at Wolf Trap that I can’t even fit it all into this one blog post. I didn’t even get to mention the fact that this job came with a number of amazing perks—it was paid (you’d be surprised at how few internships are), we got to watch the opera company sing every Wednesday at lunch, AND we received complimentary lawn tickets to almost every performance at the Filene Center. Could I ask for anything more?
Anytime a professor or family friend asks me what I did this summer, I feel very proud to tell them that I was an intern at Wolf Trap—and they are always impressed. I can’t help but feel confident that potential employers will be just as impressed when I start looking for jobs next spring, and am more than grateful to have my experience at Wolf Trap to thank for that.
Tuesday, September 20, 2011
How I Spent My Summer Vacation, Part 2
This post is from Roxanna Tehrani, Summer 2011 Administrative Intern with the Wolf Trap Opera Company.
My summer vacation was spent with the highly esteemed and coveted Wolf Trap Opera Company. Wolf Trap Opera has a reputation of facilitating the careers of the opera stars of tomorrow. Alumni have gone on to perform in some of the best opera houses in the United States and internationally. In addition to this, WTOC has launched the careers of some of today’s prominent opera administrators. Positive things have always been said about WTOC, so when I was offered the position of Administrative Intern, I was eager to find out what the company could do for my own career.
The main component of my internship was that of the company daily schedule. Whether it was a coaching, rehearsal, costume fitting, or studio class, I had to somehow find a way to fit it all in with the confinements of limited rehearsal space and available hours. The schedule at first sounds pretty innocent, but you’d be surprised to learn it can take up to 4-6 hours to make. The administrative, music, and production staff was consulted several times and there was quite literally a lot of running around. It was fast paced, high energy and I had to be more than flexible and available to spontaneously problem solve. All these things needed to be maintained, especially when just as I was about to walk out the door for the day, a critical component changed, and suddenly the schedule I worked on all day got obliterated. Strangely enough, I thoroughly enjoyed it. Perhaps I’m a glutton for punishment, but I came to love the challenges faced when putting it together. It allowed me to work intimately and be exposed to all departments of the opera company – something I had never experienced before. Through these daily interactions, I not only developed professional relationships, but in some cases, tangible and legitimate friendships
So it was through the daily schedule that I learned the mechanics and operations of an opera company. It allowed me to consult with each staff member and singer to learn their wants, needs, hopes, and disappointments. These interactions were extremely educational and allowed me to perform better at my own job. Also, WTOC allowed me to work and think independently without constant supervision, something that was both professionally and personally rewarding to have reached in my young career.
My summer vacation was spent running around and gaining critical skills all the while making what I hope will be lifelong friendships. Long hours were spent at WTOC, but the experience was made enjoyable by the quality of people I found myself fortunate enough to work with. They were gracious, infinitely patient, and had enough energy to light a small town. Wolf Trap Opera Company provided me with one of the most stimulating summers of my young adult life and I must say, I’m already envious of the intern they hire next year.
My summer vacation was spent with the highly esteemed and coveted Wolf Trap Opera Company. Wolf Trap Opera has a reputation of facilitating the careers of the opera stars of tomorrow. Alumni have gone on to perform in some of the best opera houses in the United States and internationally. In addition to this, WTOC has launched the careers of some of today’s prominent opera administrators. Positive things have always been said about WTOC, so when I was offered the position of Administrative Intern, I was eager to find out what the company could do for my own career.
The main component of my internship was that of the company daily schedule. Whether it was a coaching, rehearsal, costume fitting, or studio class, I had to somehow find a way to fit it all in with the confinements of limited rehearsal space and available hours. The schedule at first sounds pretty innocent, but you’d be surprised to learn it can take up to 4-6 hours to make. The administrative, music, and production staff was consulted several times and there was quite literally a lot of running around. It was fast paced, high energy and I had to be more than flexible and available to spontaneously problem solve. All these things needed to be maintained, especially when just as I was about to walk out the door for the day, a critical component changed, and suddenly the schedule I worked on all day got obliterated. Strangely enough, I thoroughly enjoyed it. Perhaps I’m a glutton for punishment, but I came to love the challenges faced when putting it together. It allowed me to work intimately and be exposed to all departments of the opera company – something I had never experienced before. Through these daily interactions, I not only developed professional relationships, but in some cases, tangible and legitimate friendships
So it was through the daily schedule that I learned the mechanics and operations of an opera company. It allowed me to consult with each staff member and singer to learn their wants, needs, hopes, and disappointments. These interactions were extremely educational and allowed me to perform better at my own job. Also, WTOC allowed me to work and think independently without constant supervision, something that was both professionally and personally rewarding to have reached in my young career.
My summer vacation was spent running around and gaining critical skills all the while making what I hope will be lifelong friendships. Long hours were spent at WTOC, but the experience was made enjoyable by the quality of people I found myself fortunate enough to work with. They were gracious, infinitely patient, and had enough energy to light a small town. Wolf Trap Opera Company provided me with one of the most stimulating summers of my young adult life and I must say, I’m already envious of the intern they hire next year.
Monday, September 19, 2011
How I Spent My Summer Vacation, Part 1
This post is from Nick Velleman, Summer 2011 intern in Program & Production.
The day is hot and the sun is beating down. Sweat drips down from my neck and rolls down my back. I am seated atop my perch as I watch thousands of families with coolers and blankets claim spots for themselves, set up picnics, and apply sunscreen to their fidgeting children. In approval of the peaceful scene, I close my eyes, recline a little, and think “Man, what a great way to spend my summer.”
Except, this hasn’t been a typical summer. I’m not an Ocean City lifeguard; I’m a Wolf Trap summer intern.
For the past sixteen weeks I’ve had the opportunity to work backstage at the Filene Center at Wolf Trap. My job has been to coordinate all of the hospitality and catered meals for the hundreds of performers that we have hosted here this season. In addition to that, during performances I assist my supervisor backstage overseeing hospitality and transportation for the artists.
So what is a typical evening backstage like? A rapper I like to listen to from Philadelphia goes by the nickname “Mr. Make-It-Happen.” That’s the kind of attitude I try to adopt when I work backstage. Unforeseeable issues, needs, and problems arise the day of the show and frequently it’s my responsibility to take care of them. If a band needs a keyboard stand replaced, I get on the phone with all of the nearby music stores to find who carries what they want, send a driver out, and make it happen. When an artist wants to enjoy a beer by the side of the stage before the performance begins, I find some, put it on ice, and make it happen. When a performer’s after show food needs to arrive backstage late enough so that it is still hot after the performance, but early enough that it makes it here before the park closes to incoming traffic, I make it happen.
The hours are long and it takes a lot of energy. If I wore a pedometer, I’m sure at the end of any given night I would’ve covered a few miles on foot and climbed hundreds of stairs. However, it doesn’t feel like a grueling marathon because I enjoy it so much. I came to Wolf Trap after falling in love with working backstage at concerts at my school. Sixteen hour days don’t seem so long when they are spent around something you enjoy so much.
Plus, every night is different. There are all sorts of unique, special moments that make working here so exciting and keep you looking forward to what’s next. This summer I’ve been fortunate enough to speak with Bill Cosby on the phone, practice my French with the Gipsy Kings, and see my friends the Shadowboxers rock the Filene Center stage.
Finally, I’ve learned a lot. I’ve learned the importance of patience in high-pressure situations, problem-solving skills, and the ability to think quickly on your feet. I’m looking forward to taking these lessons with me to whatever I pursue in the future.
Not bad for a summer gig, huh?
Friday, September 16, 2011
Video Highlights from Sing-A-Long Sound of Music
Today's post is from Graham Binder.
Evan Milberg, our fall multimedia intern who joined us last week was eager to get started on a video project, so we figured what better way to kick off his Wolf Trap experience than send him out to film the totally zany, cult phenomenon, Sing-A-Long Sound of Music.
He was on the scene for close to five hours, enabling him to capture myriad footage of the sing-a-long experience, patron interviews and other experiential b-roll, which made our job extra challenging when attempting to condense this piece into a compelling 90 seconds.
But, we think we nailed it. Take a look below at some highlights from this one-of-a-kind Wolf Trap experience. Maybe Rocky Horror next year??
Evan Milberg, our fall multimedia intern who joined us last week was eager to get started on a video project, so we figured what better way to kick off his Wolf Trap experience than send him out to film the totally zany, cult phenomenon, Sing-A-Long Sound of Music.
He was on the scene for close to five hours, enabling him to capture myriad footage of the sing-a-long experience, patron interviews and other experiential b-roll, which made our job extra challenging when attempting to condense this piece into a compelling 90 seconds.
But, we think we nailed it. Take a look below at some highlights from this one-of-a-kind Wolf Trap experience. Maybe Rocky Horror next year??
Thursday, September 15, 2011
Fall at Wolf Trap: Public Relations
I'm not going to lie to you. For the C&M team here at Wolf Trap, mid to late September and early October is a cherished time. Summer shows are complete, The Barns at Wolf Trap season doesn't kick into full swing until mid-October, and summer 2012 planning is only slowly building towards its crescendo. Many of us take vacations, and drastically ramp up time spent with friends and family to recharge our batteries for fall fundraising events, and the roughly 80 Fall/Spring Barns at Wolf Trap shows. If you have yet to attend a performance at The Barns, now is your chance to experience the finest in American and international music, theater, visual and performance art.
Summer is surely a different animal than the fall. In the summer there's a show almost every day, all of which demand extensive creative, design, marketing, social media, and grassroots efforts. We are responsible for attracting hundreds of thousands of patrons to the park in an effort to expose them to a vast and high quality array of artistic expression. The Barns season is similar, but on a smaller scale. Capacity is 380 as opposed to 7k, so naturally our traditional marketing budget shrinks. We focus much more on word of mouth tactics, press, grassroots, and social media.
From a PR perspective, Melissa and I work very hard to continue with press outreach to the top print and web publications, and broadcast outlets in the metro area. Aside from continuing to work closely with the Washington Post, Washington Times, Express, Washington City Paper, and other proven outlets that have a reputation for solid journalism, we use this time to cultivate new relationships with emerging blogs and online citizen journalists. Every ticket counts at The Barns, so given the fragmentation of the online media landscape it's critical that we land content in as many places as possible. We've had tremendous success this year with social media so you'll be seeing a lot more from us on that front. We have some exciting video projects planned which will begin dropping in early October, and we're also in the process of building out a robust and diverse blog editorial calendar for the fall.
One additional post-summer season project worth mentioning is that we'll be publishing The Barns 2011/12 Wolf Trap Radio station in just a few days. You can tune into Wolf Trap Radio 24 hrs. a day via this link or via iTunes and hear the latest and greatest tracks from each of the acclaimed performers playing The Barns. We'll also be offering a newly designed widget before The Barns season arrives, so you'll be able to listen directly from wolftrap.org.
Keep in mind these are just duties of the PR team! Marketing, creative, group sales, and ad sales are the other well-oiled components that keep the communications and marketing dept. engine running smoothly. See you at The Barns this fall!
Summer is surely a different animal than the fall. In the summer there's a show almost every day, all of which demand extensive creative, design, marketing, social media, and grassroots efforts. We are responsible for attracting hundreds of thousands of patrons to the park in an effort to expose them to a vast and high quality array of artistic expression. The Barns season is similar, but on a smaller scale. Capacity is 380 as opposed to 7k, so naturally our traditional marketing budget shrinks. We focus much more on word of mouth tactics, press, grassroots, and social media.
From a PR perspective, Melissa and I work very hard to continue with press outreach to the top print and web publications, and broadcast outlets in the metro area. Aside from continuing to work closely with the Washington Post, Washington Times, Express, Washington City Paper, and other proven outlets that have a reputation for solid journalism, we use this time to cultivate new relationships with emerging blogs and online citizen journalists. Every ticket counts at The Barns, so given the fragmentation of the online media landscape it's critical that we land content in as many places as possible. We've had tremendous success this year with social media so you'll be seeing a lot more from us on that front. We have some exciting video projects planned which will begin dropping in early October, and we're also in the process of building out a robust and diverse blog editorial calendar for the fall.
One additional post-summer season project worth mentioning is that we'll be publishing The Barns 2011/12 Wolf Trap Radio station in just a few days. You can tune into Wolf Trap Radio 24 hrs. a day via this link or via iTunes and hear the latest and greatest tracks from each of the acclaimed performers playing The Barns. We'll also be offering a newly designed widget before The Barns season arrives, so you'll be able to listen directly from wolftrap.org.
Keep in mind these are just duties of the PR team! Marketing, creative, group sales, and ad sales are the other well-oiled components that keep the communications and marketing dept. engine running smoothly. See you at The Barns this fall!
Wednesday, September 14, 2011
Fall at Wolf Trap: Wolf Trap Opera
This post is from Lee Anne Myslewski, Administrative Director, Wolf Trap Opera & Classical Programming.
It's September…the opera singers have left the building, so it's time for Kim Witman and me to kick our feet up on our desks, turn up the iTunes and eat bon-bons until next spring. You know, it's lovely, being able to catch up on all of those summer issues of In Touch magazine and spending all day surfing the internet. It's hard to believe they actually pay us to goof off like this!
Hahahahaaaaaaaa. Just kidding!
It's true, the singers have indeed left the building…as have the orchestral players, the costume shop and scene shop staff members, and the opera interns. It's quiet in the lower level of the Center for Education…and we don't mind in the least. But only because it's temporary.
You see, besides tidying up after a very busy summer season, there's still quite a lot to be done.
• There's a radio series (Center Stage from Wolf Trap) to produce: in-studio session one was completed at the end of August, but the second session is scheduled for late September.
• There's a chamber music series (The Discovery Series 2012-2013) to book. (Guess who needs to start listening to some chamber music STAT? THIS GIRL.)
• And, even though the opera season hasn't even been over for two whole weeks? It's time to start planning for summer 2012.
For us, the planning process begins with the autumn audition tour, a.k.a. Opera Idol. We've already received hundreds of applications from singers hoping to audition for one of our two tiers of singing artists. We'll spend time with every application (we usually receive over 1,000…so there's quite a bit of reading to do!) before winnowing the pool down to a group that's more modest. We try to hear between 350-450 singers every fall.
The auditionees for our Filene Young Artist program are each awarded a 10-minute slot in which they'll sing 2 arias. (They pick the first one - we'll pick the second one from a list of five tunes that they supply.) The Studio Artists will also start with a song of their choosing, but their second piece (again, picked by the panel) will either be another song from their list or a contemporary monologue that they've prepared.
Because our group of artists are usually doing multiple auditions - and every application/audition costs them money - we try to take a little bit of that burden away from them by providing pianists and by scheduling auditions in several major markets around the country. This fall we'll spend a week in New York before travelling to Chicago, San Francisco, Seattle, Philadelphia, Cincinnati and Houston.
It's an ambitious schedule.
Once we've heard everyone? We can start choosing which operas we'll do next summer. Our process is a little backwards…most companies decide they're going to produce "The Magic Flute" or "Madame Butterfly", and then they hold auditions for those roles…but we go out to find the very best talent and then figure out what pieces would be the best fit. It's a huge Jenga puzzle, albeit a really fun one.
Usually by the time we wrap up the auditions, choose the repertoire and finalize the casting, it's Thanksgiving. (I tend to spend the day in my PJs, watching football with my hubby, and eating turkey and stuffing until I can't move.) We spend the month between Thanksgiving and Christmas contracting the singers, conductors, directors, designers and music and production staff for the summer season. And come January we're in full production mode with designer meetings, music and equipment rentals, marketing and publicizing the season, contracting guest artists…
And the whole cycle begins anew.
It's September…the opera singers have left the building, so it's time for Kim Witman and me to kick our feet up on our desks, turn up the iTunes and eat bon-bons until next spring. You know, it's lovely, being able to catch up on all of those summer issues of In Touch magazine and spending all day surfing the internet. It's hard to believe they actually pay us to goof off like this!
Hahahahaaaaaaaa. Just kidding!
It's true, the singers have indeed left the building…as have the orchestral players, the costume shop and scene shop staff members, and the opera interns. It's quiet in the lower level of the Center for Education…and we don't mind in the least. But only because it's temporary.
You see, besides tidying up after a very busy summer season, there's still quite a lot to be done.
• There's a radio series (Center Stage from Wolf Trap) to produce: in-studio session one was completed at the end of August, but the second session is scheduled for late September.
• There's a chamber music series (The Discovery Series 2012-2013) to book. (Guess who needs to start listening to some chamber music STAT? THIS GIRL.)
• And, even though the opera season hasn't even been over for two whole weeks? It's time to start planning for summer 2012.
For us, the planning process begins with the autumn audition tour, a.k.a. Opera Idol. We've already received hundreds of applications from singers hoping to audition for one of our two tiers of singing artists. We'll spend time with every application (we usually receive over 1,000…so there's quite a bit of reading to do!) before winnowing the pool down to a group that's more modest. We try to hear between 350-450 singers every fall.
The auditionees for our Filene Young Artist program are each awarded a 10-minute slot in which they'll sing 2 arias. (They pick the first one - we'll pick the second one from a list of five tunes that they supply.) The Studio Artists will also start with a song of their choosing, but their second piece (again, picked by the panel) will either be another song from their list or a contemporary monologue that they've prepared.
Because our group of artists are usually doing multiple auditions - and every application/audition costs them money - we try to take a little bit of that burden away from them by providing pianists and by scheduling auditions in several major markets around the country. This fall we'll spend a week in New York before travelling to Chicago, San Francisco, Seattle, Philadelphia, Cincinnati and Houston.
It's an ambitious schedule.
Once we've heard everyone? We can start choosing which operas we'll do next summer. Our process is a little backwards…most companies decide they're going to produce "The Magic Flute" or "Madame Butterfly", and then they hold auditions for those roles…but we go out to find the very best talent and then figure out what pieces would be the best fit. It's a huge Jenga puzzle, albeit a really fun one.
Usually by the time we wrap up the auditions, choose the repertoire and finalize the casting, it's Thanksgiving. (I tend to spend the day in my PJs, watching football with my hubby, and eating turkey and stuffing until I can't move.) We spend the month between Thanksgiving and Christmas contracting the singers, conductors, directors, designers and music and production staff for the summer season. And come January we're in full production mode with designer meetings, music and equipment rentals, marketing and publicizing the season, contracting guest artists…
And the whole cycle begins anew.
Tuesday, September 13, 2011
Fall at Wolf Trap: Education
This post is from Rebecca Proch, Manager, Education Technology and Resources.
When 30+ summer interns scatter back to college and bright autumn leaves are the only thing still dancing on the quiet stage of Children’s Theatre-in-the-Woods, folks might imagine that life gets a little dull in the Center for Education across the toll road. But there’s really no such thing as “down time” here, and for the dozen or so of us responsible for Wolf Trap’s Education programming, autumn is just the start of a whole new busy season.
In roughly 50 early childhood classrooms, Head Start programs, and child care centers from downstate Virginia through Baltimore, three- to five-year-olds eagerly await the days when Wolf Trap Teaching Artists will visit them. In the Institute for Early Learning Through the Arts, our Classroom Residencies pair a professional Wolf Trap Teaching Artist with an educator to develop arts experiences that support and enhance children’s skills and development in emergent literacy and STEM learning.
For many of the children in our residencies, the field trip that they take to the Center for Education will be their first exposure to live performance. An age-appropriate, interactive performance in dance, storytelling, or puppetry is followed by music from the Wolf Trap Jazz Trio—and by the end of it, everyone’s up and dancing!
Meanwhile, our fall interns begin to arrive at the Center. This group of mostly undergraduate or graduate students from local schools gain valuable work experience at Wolf Trap while still carrying a full course load. While here, they take an active role in programs and events throughout the organization and receive mentoring and professional development sessions.
At Wolf Trap, education doesn’t end with graduation. We believe in the value of lifelong learning in the arts, and in the fall we cater to dozens of learners from infancy through adulthood with our Community Classes. The Education Hall is filled with the happy sounds of babies and their caregivers in Baby Artsplay™ sessions or adult learners playing guitar or singing. In our soundproof rehearsal rooms, children and adults alike study private voice and piano. A couple of times a year, drum lovers come together for a lively evening of rhythm at our Community Drum Circles.
In high schools in six counties, recipients of Wolf Trap’s Grants for High School Performing Arts Teachers are beginning work with their students on their grant projects. The work will continue over the course of the school year, culminating in a student performance in the spring. Grant recipients often use their funds to provide students with master classes with professional artists, to commission new works for their music groups, and even to enable their students to compose new works, including an electric guitar symphony.
Our professional development programs for early childhood educators start with our annual series of Professional Development Workshops kicking off every fall. Sixty teachers, caregivers, and administrators join our Master Teaching Artists for experiential, interactive three-hour sessions about integrating music, dance, puppetry, and drama into the whole curriculum.
That work radiates out into the rest of the country, as we send our Teaching Artists to do one-week classroom residencies as well as workshops and keynotes to hundreds of participants at professional conferences each year. Sometimes, partnerships take us as far as Hong Kong, Australia, or Greece to share our work around the globe. At the same time, our 15 Regional Programs also begin their school year by placing Wolf Trap-trained teaching artists into classroom residencies in their own communities.
As always, it’s a busy, exciting time here in the Education department. We may not do many things like “relax” and “eat lunch at normal times,” but we’re fortunate to do the work we love and to see first-hand, every year, the many ways in which the arts make life marvelous.
When 30+ summer interns scatter back to college and bright autumn leaves are the only thing still dancing on the quiet stage of Children’s Theatre-in-the-Woods, folks might imagine that life gets a little dull in the Center for Education across the toll road. But there’s really no such thing as “down time” here, and for the dozen or so of us responsible for Wolf Trap’s Education programming, autumn is just the start of a whole new busy season.
In roughly 50 early childhood classrooms, Head Start programs, and child care centers from downstate Virginia through Baltimore, three- to five-year-olds eagerly await the days when Wolf Trap Teaching Artists will visit them. In the Institute for Early Learning Through the Arts, our Classroom Residencies pair a professional Wolf Trap Teaching Artist with an educator to develop arts experiences that support and enhance children’s skills and development in emergent literacy and STEM learning.
For many of the children in our residencies, the field trip that they take to the Center for Education will be their first exposure to live performance. An age-appropriate, interactive performance in dance, storytelling, or puppetry is followed by music from the Wolf Trap Jazz Trio—and by the end of it, everyone’s up and dancing!
Meanwhile, our fall interns begin to arrive at the Center. This group of mostly undergraduate or graduate students from local schools gain valuable work experience at Wolf Trap while still carrying a full course load. While here, they take an active role in programs and events throughout the organization and receive mentoring and professional development sessions.
At Wolf Trap, education doesn’t end with graduation. We believe in the value of lifelong learning in the arts, and in the fall we cater to dozens of learners from infancy through adulthood with our Community Classes. The Education Hall is filled with the happy sounds of babies and their caregivers in Baby Artsplay™ sessions or adult learners playing guitar or singing. In our soundproof rehearsal rooms, children and adults alike study private voice and piano. A couple of times a year, drum lovers come together for a lively evening of rhythm at our Community Drum Circles.
In high schools in six counties, recipients of Wolf Trap’s Grants for High School Performing Arts Teachers are beginning work with their students on their grant projects. The work will continue over the course of the school year, culminating in a student performance in the spring. Grant recipients often use their funds to provide students with master classes with professional artists, to commission new works for their music groups, and even to enable their students to compose new works, including an electric guitar symphony.
Our professional development programs for early childhood educators start with our annual series of Professional Development Workshops kicking off every fall. Sixty teachers, caregivers, and administrators join our Master Teaching Artists for experiential, interactive three-hour sessions about integrating music, dance, puppetry, and drama into the whole curriculum.
That work radiates out into the rest of the country, as we send our Teaching Artists to do one-week classroom residencies as well as workshops and keynotes to hundreds of participants at professional conferences each year. Sometimes, partnerships take us as far as Hong Kong, Australia, or Greece to share our work around the globe. At the same time, our 15 Regional Programs also begin their school year by placing Wolf Trap-trained teaching artists into classroom residencies in their own communities.
As always, it’s a busy, exciting time here in the Education department. We may not do many things like “relax” and “eat lunch at normal times,” but we’re fortunate to do the work we love and to see first-hand, every year, the many ways in which the arts make life marvelous.
Monday, September 12, 2011
Fall at Wolf Trap: Program & Production
This post is from Barbara Parker.
So, what do you do the rest of the year?
It's a common question especially after the Filene Center season has wound down, cooler temperatures have moved in, and the colors of the leaves have started to change. I'd like to pretend that we in Programming head off to exotic vacations full of rest and relaxation, but we don't. Truth be told, each of us does try to take some much needed time off, whether it be a staycation or visiting a new grand baby (Congratulations, Peter!), but there is no such thing as an off-season at Wolf Trap.
The Barns at Wolf Trap season at our 382-seat indoor venue opens on Friday, October 7 with a performance by The Wood Brothers with Special Guest Clay Cook.
The fall season features 27 performances including the Barns debuts of Sam Bush, Enter the Haggis, and Foster & Lloyd. Check out these special staff picks.
The Filene Center is ever present in our minds. We have already begun scheduling for the Summer 2012 season. (If you have requests or suggestions, leave a comment to get them in now!) Our first batch of shows will go on sale in late November, just in time for holiday shopping, and will feature our dance series, musicals, and several signature performances.
Of course, we don't completely stop presenting shows at The Filene Center either. On Sunday, December 4, the U.S. Marine Band, 500 choir members, and an audience full of bundled-up community members will gather to sing holiday songs. The weather may be cold, but this event will truly keep you warm with the spirit of a different kind of season. Did I mention that we have special guests from the North Pole who visit for the occasion?
I, myself, will be escaping from the Northern Virginia fall weather for a while in early November, when I travel to South Florida to begin filming for the next installment of Wolf Trap's Face of America series. I'll be visiting Everglades National Park, Biscayne Bay National Park, Big Cypress National Preserve, and Dry Tortugas National Park with a film crew and a dance company. Stay tuned for more information on this exciting project.
So, what do we do the rest of the year? We stay busy, we work hard, and we love every minute of it!
So, what do you do the rest of the year?
It's a common question especially after the Filene Center season has wound down, cooler temperatures have moved in, and the colors of the leaves have started to change. I'd like to pretend that we in Programming head off to exotic vacations full of rest and relaxation, but we don't. Truth be told, each of us does try to take some much needed time off, whether it be a staycation or visiting a new grand baby (Congratulations, Peter!), but there is no such thing as an off-season at Wolf Trap.
The Barns at Wolf Trap season at our 382-seat indoor venue opens on Friday, October 7 with a performance by The Wood Brothers with Special Guest Clay Cook.
The fall season features 27 performances including the Barns debuts of Sam Bush, Enter the Haggis, and Foster & Lloyd. Check out these special staff picks.
The Filene Center is ever present in our minds. We have already begun scheduling for the Summer 2012 season. (If you have requests or suggestions, leave a comment to get them in now!) Our first batch of shows will go on sale in late November, just in time for holiday shopping, and will feature our dance series, musicals, and several signature performances.
 |
| Wolf Trap's Face of America 2009 |
So, what do we do the rest of the year? We stay busy, we work hard, and we love every minute of it!
Thursday, September 8, 2011
Hawaii in the Rain
This post is from Liz Uyeda, Assistant, Program and Production, whose heart will always be in Hawaii.
“We’ve never played in a thunderstorm before,” said Robert Cazimero when he arrived at the Filene Center. He had just flown in from Tokyo, Japan where he had left a typhoon, or so he thought. It was a dark and stormy afternoon in Vienna, Virginia, but one thing was clear, no amount of lightning and thunder was going to dampen the aloha spirit of these performers.
In Hawaii we talk a lot about the aloha spirit, but what is it really? It can be as big as stopping to help a complete stranger to something small like sharing a smile with someone on the street. The aloha spirit is a warm infectious energy that Robert, Roland, Noland and their dancers were kind enough to share with us on a very wet evening.
Brother Noland was the first to causally take the stage. Grinning with his bright blue guitar in hand Noland greeted the audience and promptly removed his slippers (which is the Hawaiian term for “flip-flops”). No local boy can properly jam with shoes on. As a native of the Big Island of Hawaii, Noland shared stories of his home. He regaled the audience with the story of his “Hawaiian swimming lesson” which was about his father taking the kids out into Waimea Bay on a boat and throwing them into the ocean until they “figured it out.” He told stories about waterfall inspired chords, about surfing, and finally closed his set with an unforgettable performance of his song “Coconut Girl.” Some of you may remember this song from the Pineapple Express soundtrack or if you have never heard it before, check it out below. But be warned, it will get stuck in your head.
When the Brothers Cazimero took the stage with their dancers, the soggy crowd greeted them with an enthusiastic “Alooooooha!” For those of us from Hawaii, listening to the brothers and watching their dancers perform is like returning home. Roland and Robert didn’t even stop playing when the rain, for a few seconds, took out the power. Remember when I said nothing was going to dampen their spirits?
The Brothers invited Brother Noland for one last song together, a personal favorite of mine, “Pu Pu Hinu Hinu.” I think we’ve all had the experience of putting pearly white shells up to our ears at the beach, to listen to the ocean waves. This was the first Hawaiian song I learned to sing, when I was in preschool, waving shiny shells in both hands. It was a beautiful way to close an evening together.
When the show closed it was time to say goodbye. There is no such thing as a quick goodbye in Hawaii. You have to say mahalo (thank you) about 50 times, give about 60 hugs, and about 100 kisses. Then you’ll be close. It was hard for me to watch them leave but I know it’s not a real goodbye. It’s what we say in Hawaii “aloha a hui hou,” “until we meet again.”
“We’ve never played in a thunderstorm before,” said Robert Cazimero when he arrived at the Filene Center. He had just flown in from Tokyo, Japan where he had left a typhoon, or so he thought. It was a dark and stormy afternoon in Vienna, Virginia, but one thing was clear, no amount of lightning and thunder was going to dampen the aloha spirit of these performers.
In Hawaii we talk a lot about the aloha spirit, but what is it really? It can be as big as stopping to help a complete stranger to something small like sharing a smile with someone on the street. The aloha spirit is a warm infectious energy that Robert, Roland, Noland and their dancers were kind enough to share with us on a very wet evening.
Brother Noland was the first to causally take the stage. Grinning with his bright blue guitar in hand Noland greeted the audience and promptly removed his slippers (which is the Hawaiian term for “flip-flops”). No local boy can properly jam with shoes on. As a native of the Big Island of Hawaii, Noland shared stories of his home. He regaled the audience with the story of his “Hawaiian swimming lesson” which was about his father taking the kids out into Waimea Bay on a boat and throwing them into the ocean until they “figured it out.” He told stories about waterfall inspired chords, about surfing, and finally closed his set with an unforgettable performance of his song “Coconut Girl.” Some of you may remember this song from the Pineapple Express soundtrack or if you have never heard it before, check it out below. But be warned, it will get stuck in your head.
When the Brothers Cazimero took the stage with their dancers, the soggy crowd greeted them with an enthusiastic “Alooooooha!” For those of us from Hawaii, listening to the brothers and watching their dancers perform is like returning home. Roland and Robert didn’t even stop playing when the rain, for a few seconds, took out the power. Remember when I said nothing was going to dampen their spirits?
The Brothers invited Brother Noland for one last song together, a personal favorite of mine, “Pu Pu Hinu Hinu.” I think we’ve all had the experience of putting pearly white shells up to our ears at the beach, to listen to the ocean waves. This was the first Hawaiian song I learned to sing, when I was in preschool, waving shiny shells in both hands. It was a beautiful way to close an evening together.
When the show closed it was time to say goodbye. There is no such thing as a quick goodbye in Hawaii. You have to say mahalo (thank you) about 50 times, give about 60 hugs, and about 100 kisses. Then you’ll be close. It was hard for me to watch them leave but I know it’s not a real goodbye. It’s what we say in Hawaii “aloha a hui hou,” “until we meet again.”
Wednesday, September 7, 2011
News & Notes: September 7: African Drumming, Military Discounts and the Wolf Trap Ball
Sorry to be a bit late on this week's news and notes - we are getting caught up from Labor Day weekend.
Next week, Wolf Trap begins fall arts education classes here at the Center for Education. This week's Washington Post ArtsPost blog includes details on the African Drumming class. Find info on all the Center for Education classes here.
The Vienna Patch is sharing news of Wolf Trap's military discount on September shows.
The Filene Center is one of numerous structures around the D.C. region that has been transformed and digitally enhanced in photographs taken by Kenneth Wyner which are currently on display at the American Institute of Architects. The Washington Post and DC Magazine featured highlights of the display. You can also see a short write up on the recently installed electric vehicle charging stations at Wolf Trap in this fall issue of DC Magazine on page 32.
The upcoming Wolf Trap Ball is highlighted in Ask Miss A and on The Rogers Revue blog.
Next week, Wolf Trap begins fall arts education classes here at the Center for Education. This week's Washington Post ArtsPost blog includes details on the African Drumming class. Find info on all the Center for Education classes here.
The Vienna Patch is sharing news of Wolf Trap's military discount on September shows.
The Filene Center is one of numerous structures around the D.C. region that has been transformed and digitally enhanced in photographs taken by Kenneth Wyner which are currently on display at the American Institute of Architects. The Washington Post and DC Magazine featured highlights of the display. You can also see a short write up on the recently installed electric vehicle charging stations at Wolf Trap in this fall issue of DC Magazine on page 32.
The upcoming Wolf Trap Ball is highlighted in Ask Miss A and on The Rogers Revue blog.
What is a Sing-A-Long Sound of Music?
So, you're thinking about coming to the Sing-A-Long Sound of Music on Saturday and want to know what to expect? Here's a brief primer on the performance.
This is a screening of the classic 1965 movie musical in glorious, full-screen technicolor with subtitles on the musical numbers so the whole audience can sing along. Our friend and NSO@Wolf Trap Festival Conductor Emil de Cou will put his hilarity to good use as our host for the evening leading the audience through a vocal warm up and explaining some of the interactive fun of the evening: booing the Nazis, hissing the Baroness, and, of course, cheering for Maria.
There is a costume competition. No, you don't have to dress up, but Halloween is right around the corner so you may as well get ready now. Wear a wimple or make a dress from your most decorative curtains. The best dressed will be chosen by the audience and the winner will get a prize!
You will receive a free fun pack. We won't spoil the surprise about what's inside, but your host will explain to you how to use the props during key moments of the movie.
Come ready to sing, and laugh, and have a great time. This is one performance where no one will mind you singing along!
Friday, September 2, 2011
Two Lucky Children Fly with Peter Pan at Wolf Trap
Today's post is from Graham Binder.
Wolf Trap and the Washington Post made two young children VERY happy today, giving them the chance to fly like Peter Pan on the Wolf Trap stage. Sophia Adams-Smith, age 8, submitted a stellar essay to the Washington Post letting the world know why she deserves to fly alongside the legendary Cathy Rigby. Her hard work paid off immensely, earning her a trip to be hoisted into the skies this morning at 10am. Her brother Ben also got a bonus ride!
I was on the scene with Wolf Trap's trusty handheld camera, and cut together this short piece to help convey the experience. I kept hoping I would be asked to fly...but no such luck! I'm slightly afraid of heights anyway, so it was probably for the best.
Cathy Rigby is Peter Pan is running all weekend. Tonight at 8, and a 2pm and 8pm both Saturday and Sunday. Hope to see you there.
Wolf Trap and the Washington Post made two young children VERY happy today, giving them the chance to fly like Peter Pan on the Wolf Trap stage. Sophia Adams-Smith, age 8, submitted a stellar essay to the Washington Post letting the world know why she deserves to fly alongside the legendary Cathy Rigby. Her hard work paid off immensely, earning her a trip to be hoisted into the skies this morning at 10am. Her brother Ben also got a bonus ride!
I was on the scene with Wolf Trap's trusty handheld camera, and cut together this short piece to help convey the experience. I kept hoping I would be asked to fly...but no such luck! I'm slightly afraid of heights anyway, so it was probably for the best.
Cathy Rigby is Peter Pan is running all weekend. Tonight at 8, and a 2pm and 8pm both Saturday and Sunday. Hope to see you there.
Thursday, September 1, 2011
Wolf Trap's Q&A with Cathy Rigby
Graham: Peter Pan was first presented on stage in 1904 on the Duke of York’s Theatre in London, making the staged production more than 100 years old. How does it feel to be carrying the torch of Peter Pan into its second century of existence?
Cathy: It's an honor and privilege to be able to carry on a family "memory making tradition" that has been going on for over 100 years. Everyone knows the story of Peter Pan....so many of the people I meet after the show talk of their own memories of seeing the show for the first time...wanting to fly to Neverland with Peter and the lost boys...Captain Hook ...Wendy, Michael and John, Tiger Lily and, of course, the pirates and Indians. Now they share those magical memories with their own children or grandchildren. The adults become transformed to children and the children just seem to believe in all the magic and adventure.
Graham: I believe there are four movie adaptations of the play. Peter Pan in 1924, 1953’s Disney film, Spielberg’s Hook in 1992, and P.J. Hogan’s Peter Pan in 2003. All are VERY different. Which is your favorite and why?
Cathy: I especially loved the boy who played Peter Pan's son in Hook. His performance was understated, funny, and very poignant and of course, Robin Williams IS Peter Pan!
Graham: Do you think you were born to play this role, or did you grow into it over time? What I really mean is, have you always been a little girl that refuses to grow up?
Cathy: I do think this role is one I was meant to play...not just for the physical aspect but also because I feel my childhood held many of the challenges and adventures that the play addresses.
Everything from the isolation and loneliness to believing I could do anything...the mischief and the fearlessness.
Graham: You’ve only been out to Wolf Trap one time before to perform this role, and that was 2005. To help us celebrate our 40th anniversary year, do you have any special memories from your time here that you’d be willing to share?
Cathy: I love performing Peter Pan in this amazing outdoor theater...with the trees and open sky I feel as if I'm in Kensington Gardens and the fairies are hiding under the flora and fauna...I feel as if I'm in Neverland.
Here's a video interview with Cathy on Fox5 DC this morning.
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