Rebecca Castillo performs in the Kentucky Bach Choir's Audrey Rooney Vocal Competition. Provided Photo.

CCM Singer Awarded in Kentucky Bach Choir’s Audrey Rooney Vocal Competition

We are thrilled to share that CCM Master of Music student Rebecca Castillo won the Encouragement Award after participating in Kentucky Bach Coir’s Audrey Rooney Vocal Competition on Saturday, April 9.

Singers Zackery Morris, Emily Yocum Black, Julius Cruse Miller III, Rebecca Castillo with vocal competition sponsor Audrey Rooney and Kentucky Bach Choir Artistic Director Marlon Hurst.

Singers Zackery Morris, Emily Yocum Black, Julius Cruse Miller III, Rebecca Castillo with vocal competition sponsor Audrey Rooney and Kentucky Bach Choir Artistic Director Marlon Hurst. Provided Photo.

Nine student singers from six different states and nine universities competed in the live vocal competition, held at the First Presbyterian Church in Lexington. The singers competed for a Grand Prize of $1,500, an Audience Choice Award of $750, and two Encouragement Awards. As a recipient of the Encouragement Award, Castillo was given $500 and the opportunity to return as a paid guest soloist in future Kentucky Bach choir concerts.

The Grand Prize winner was Emily Yocum Black, who is pursuing a Master’s in Vocal Performance at the University of Louisville. The Audience Choice Award went to Zackery Morris, who is in pursuit of a Doctor of Musical Arts in Vocal Performance at the University of Kentucky. Julius Cruse Miller III, who is pursuing a Bachelor of Music degree in Vocal Performance at Indiana University, won the other Encouragement Award.

Castillo is a soprano studying under the tutelage of Amy Johnson, assistant professor of voice, as part of the Master of Music program at CCM. She recently performed in the ensemble of CCM’s production of Leos Janacek’s The Cunning Little Vixen. Last fall, Castillo performed J. S. Bach’s B Minor Mass with Cincinnati’s Vocal Arts Ensemble under the direction of Craig Hella Johnson.

She graduated from Sam Houston State University with a Bachelor of Music Education and previously taught choir at South Houston High School. While there, she performed with Houston’s Bach Society Choir including works B Minor Mass, St. Matthew’s Passion and Magnificat.

About the Audrey Rooney Vocal Competition
In its sixth year, the vocal competition was created to encourage exceptional student singers in the study of the solo repertoire of J. S. Bach, Franz Joseph Haydn, and W. A. Mozart. Singers are selected for the live competition in Lexington by submitting recordings to Kentucky Bach Choir Artistic Director, Marlon Hurst. The competition was adjudicated by Hurst, Associate Professor of Voice and Director of Opera at the University of Alamaba Dr. Krintine Hurst-Wajszczuk, and Zach Klobnak, director of music at The Presbyterian Church in Danville, Centre College organist and instructor of organ, harpsichord, and piano. Klobnak also serves as the accompanist for the Kentucky Bach Choir. All singers in the competition were accompanied by Nan McSwain, vocal coach and lecturer in opera with the University of Kentucky Opera Theater.

Ms. Audrey Heyman Rooney became the sponsor of the competition in 2013. A member of the Kentucky Bach Choir Board of Directors, Ms. Rooney has been a longtime advocate for the arts and for the encouragement of young artists, making significant contributions towards these ends in Pennsylvania, Delaware, Maryland and Kentucky.

CCM News Student Salutes
Rehearsals for CCM's April 2016 production of SWAN LAKE.

Building a Ballet: E-Media students give inside look at CCM’s ‘Swan Lake’

CCM Electronic Media and UC journalism students take us behind-the-scenes with a look at the rehearsals for next week’s production of Swan Lake. The video series chronicles all of the work and dedication students, faculty and staff put into the lavish new production of Tchaikovsky’s timeless ballet.

Students within the News Writing and Reporting class, taught by Assistant Professor of E-Media Hagit Limor and Journalism Professor Bob Jonason, created the videos, which star faculty and students within CCM’s Dance Department.

In the video above, Dance Department chair and Swan Lake co-director Jiang Qi discusses the work that goes into presenting such an iconic ballet. He explains:

Swan Lake is one of the top classical ballets in the repertoire. It’s almost textbook. You learn Swan Lake and then you get much stronger. This is an art form that requires a lot of physical and mental endurance to get through.”

The videos and photos, created by students Brevin Couch, Mark D’Andrea, Tyler Dunn, Daniel Honerkamp, Ailish Masterston and Andrew Wilkins, can be viewed on the Building a Ballet website. Visit the website to view interviews with dance students Madison Holschuh (Odette), Sam Jones (Prince Siegfried), and Kiahna Saneshige (Odile). The package was recently featured in Cincinnati Magazine.

Swan Lake is only the second story ballet ever presented as part of CCM’s Mainstage Series. The production runs April 22 – 24 in CCM’s Corbett Auditorium.

Co-directed by Jiang and Professor Deirdre Carberry, the production features students from CCM’s BFA Ballet program, which Dance Magazine has hailed as one of the country’s “top programs to consider.”

The lavishly staged spectacle features accompaniment by CCM’s lauded Concert Orchestra under the direction of Professor Aik Khai Pung.

This production marks the first time in CCM’s nearly 150-year history that a dance production has featured brand new costumes designed and built in-house. You can learn more about the work that went into costuming Swan Lake here.

Performance Times

  • 8 p.m. Friday, April 22
  • 8 p.m. Saturday, April 23
  • 2 p.m. Sunday, April 24

Location
Corbett Auditorium, CCM Village
University of Cincinnati

Purchasing Tickets
Tickets to Swan Lake are $27-31 for adults, $17-20 for non-UC students and $15-18 for UC students with a valid ID.

Tickets can be purchased in person at the CCM Box Office, over the telephone at 513-556-4183 or online at ccm.uc.edu/boxoffice/mainstage/swan-lake.

Parking and Directions

Parking is available in the CCM Garage (located at the base of Corry Boulevard off Jefferson Avenue) and additional garages throughout the UC campus. Please visit uc.edu/parking for more information on parking rates.

For detailed maps and directions, please visit uc.edu/visitors. Additional parking is available off-campus at the new U Square complex on Calhoun Street and other neighboring lots.

For directions to CCM Village, visit ccm.uc.edu/about/directions.

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CCM Season Presenting Sponsor and Musical Theatre Program Sponsor: The Otto M. Budig Family Foundation

Mainstage Season Production Sponsor: Macy’s

Production Sponsors: Rosemary & Mark Schlachter, Teri Jory & Seth Geiger and Graeter’s

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Story by Curt Whitacre

CCM News CCM Video Faculty Fanfare Student Salutes
A banner for the Richard Tucker Music Foundation.

CCM Alumnae Tamara Wilson and Amanda Woodbury Receive Major Awards from Richard Tucker Music Foundation

We are ecstatic to report that CCM alumnae Tamara Wilson (BM Voice, 2004) and Amanda Woodbury (MM Voice, 2012) have both received major awards from the prestigious Richard Tucker Music Foundation.

Wilson, a soprano who studied with Barbara Honn while attending CCM, has been named winner of the 2016 Richard Tucker Award. Dubbed the “Heisman Trophy of Opera,” the Tucker Award carries the foundation’s most substantial cash prize of $50,000, and is conferred each year by a panel of opera industry professionals on an American singer at the threshold of a major international career. Featuring such luminaries as Renée Fleming, Stephanie Blythe, Lawrence Brownlee, David Daniels, Christine Goerke and Joyce DiDonato, the list of past winners reads like a who’s who of American opera. Wilson is a previous recipient of the Foundation’s Sara Tucker Study Grant in 2008 and Richard Tucker Career Grant in 2011.

Barry Tucker, president of the Richard Tucker Music Foundation and son of the Brooklyn-born tenor, commented, “I first met Tamara Wilson when she auditioned for – and won – a Sara Tucker Study Grant in 2008. I was blown away not only by the power and sheer beauty of her voice, but also by how grounded she is as a person. Last year, when I was listening to the Saturday matinee broadcast of Aida from the Met and realized it was her singing the title role, I couldn’t have been more impressed by how she’s evolved as an artist. She has a bright future ahead of her, and we are thrilled to have her as our 2016 Richard Tucker Award winner.”

Wilson is not the only CCM-trained singer honored by the Richard Tucker Music Foundation this year. Woodbury, a soprano who studied with William McGraw while attending CCM, has been named a 2016 Richard Tucker Career Grant recipient. Selected through a vocal competition, these grants are provided to singers who have begun professional careers and who have already performed roles with opera companies nationally or internationally. As previously reported, Woodbury was awarded the Foundation’s Sara Tucker Grant in 2014.

About the Richard Tucker Music Foundation
Founded in 1975, the Richard Tucker Music Foundation is a non-profit cultural organization that honors the artistic legacy of the great American tenor through support of talented American opera singers and by bringing opera into the community.

The Foundation’s awards program offers grants for study, performance opportunities and other career-enhancing activities, thereby providing professional development for singers at several levels of career-readiness. You can learn more about the Richard Tucker Music Foundation by visiting richardtucker.org/about.

Soprano Tamara Wilson (BM Voice, 2004).

Soprano Tamara Wilson (BM Voice, 2004).

About Tamara Wilson
American soprano Tamara Wilson made her much-anticipated Metropolitan Opera debut in December of 2014 in the title role of Aida, when the New York Times praised the “laserlike authority of her high notes,” and observed: “Her voice blooms with her palpable involvement in her own story: Her singing is urgent, her physical performance restrained yet powerful.”

Nominated for a 2016 Olivier Award for Outstanding Achievement in Opera after her English National Opera debut last fall as Leonora in La forza del destino, the soprano will make further debuts next season at the Bayerischer Staatsoper and Deutsche Oper Berlin. She was a finalist in the 2004 Metropolitan Opera National Council Auditions, a Grand Prize Winner at Barcelona’s Annual Francisco Viñas Competition, a winner of the George London Award and the recipient of both a 2008 Sara Tucker Study Grant and a 2011 Richard Tucker Career Grant from the Richard Tucker Music Foundation.

After launching the present season headlining Aida at the Aspen Music Festival, Wilson returned to Oper Frankfurt as Elisabeth de Valois in Don Carlo; sang Lucrezia in Verdi’s I due Foscari in Santiago, Chile; made her Cleveland Orchestra debut; and joined Marin Alsop for Mahler in São Paulo. Back in the States after touring Japan as Rosalinde in Die Fledermaus under the baton of Seiji Ozawa, the soprano looks forward to taking Brahms’s German Requiem on an East Coast tour with Seraphic Fire and singing Desdemona in Otello at Cincinnati’s May Festival, in celebration of James Conlon’s 37th and final year as Music Director. Last season Wilson made her role and house debuts headlining Norma at Barcelona’s Gran Teatre del Liceu, following recent debuts at Houston Grand Opera, Washington National Opera, Los Angeles Opera, and Carnegie Hall. In addition to being a CCM graduate, Wilson is also an alumna of the Houston Grand Opera Studio.

CCM alumna Amanda Woodbury.

CCM alumna Amanda Woodbury.

About Amanda Woodbury
An alumna of Los Angeles Opera’s Domingo-Colburn-Stein Young Artist Program, Amanda Woodbury was recently honored with the second place and Audience Choice awards in Plácido Domingo’s Operalia Competition. She also won the 2014 Metropolitan Opera National Council Auditions, a 2014 Sara Tucker Study Grant, and both second place and Audience Choice awards at Houston Grand Opera’s Eleanor McCollum Competition.

Woodbury made her professional debut as Micaëla in Carmen at Los Angeles Opera, where she returned as Papagena in Die Zauberflöte. She then joined the roster of the Metropolitan Opera, appearing as Tebaldo in Don Carlo and covering the roles of Antonia and Stella in Les Contes d’Hoffmann.

This season she sang Leïla in Les pêcheurs de perles at the Met, and looks forward to appearing as Musetta in La bohème with the Los Angeles Opera. Having taken part in the Met’s “Rising Stars” concert tour, she looks forward to headlining a new Met production of Roméo et Juliette and making house debuts at PORTopera as Micaëla in Carmen and at Atlanta Opera as Konstanze in Die Entführung aus dem Serail. Woodbury completed her Master’s Degree in Vocal Performance at CCM in 2012, after receiving her Bachelor of Music from Indiana University.

In a 2014 interview with the Cincinnati Enquirer, Woodbury reflected on her recent success and on her time at CCM, telling Janelle Gelfand:

“I sang two roles onstage [at CCM], Donna Anna in Don Giovanni and Madame Lidoine in Dialogues of the Carmelites. I can’t tell you how much that has helped my career. It helped me to prepare for the next step, and just everything they did opened up doors for me. I’m so glad I went to CCM, because I passed up Juilliard for CCM.”

You can read the Enquirer‘s full interview with Woodbury online here.

Learn more about the achievements of CCM’s students and alumni by subscribing to The Village News!
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Story by Curt Whitacre

CCM Alumni Applause CCM News
Very Dumb Kids

CCM Presents Free Workshop Production of Gracie Gardner’s ‘Very Dumb Kids’

Gracie Gardner

New York playwright Gracie Gardner, commissioned to write ‘Very Dumb Kids.’

CCM’s Studio Series comes to a dramatic conclusion with a workshop production of Very Dumb Kids (formerly titled The Great Majority) by rising New York playwright Gracie Gardner. We invite you to join us Thursday, April 21 – Saturday, April 23 in the Cohen Family Studio Theater for a sneak-peek at this developing drama, which is part of CCM’s new play commissioning initiative. Assistant Professor of Drama Brant Russell directs.

One of the perks of producing a work-in-progress play is observing it evolve over time. Since its genesis, the title of this play has changed from The Great Majority to Very Dumb Kids. According to Gardner, she referred to the production as “the play about the very dumb kids” for quite some time, so this title change was a natural result of the creative process.

This action-packed drama tells the tale of an adventurous woman named Sarah who is tragically murdered while working as a correspondent in New Delhi. While Sarah was busy confronting the world, her college friends sat calmly at home in the U.S., streaming TV shows on the internet and peddling their esoteric skill sets. One year after her funeral, Sarah’s friends meet for their annual Fourth of July reunion.

The play explores entitlement and its effects are on the disenfranchised as well as the privileged in the millennial era. How can we live responsibly in an irresponsible universe?

Very Dumb Kids is the inaugural production of CCM Drama’s new play-commissioning initiative, which focuses on plays that speak to the unique experience of being young in America. The plays, written for and about our students, will enrapture a new generation of artists and audiences. They will go on to be produced by educational institutions and professional theatre companies all over the country to expand CCM’s reach and reputation as a preeminent institution for the performing arts. And you will be able to say you were there when it all started!

We invite you to join us April 21-23 for the workshop production of Very Dumb Kids and ask you to return next year for the full production!

Performance Times

  • 8 p.m. Thursday, April 21
  • 8 p.m. Friday, April 22
  • 2 and 8 p.m. Saturday, April 23

Location
Cohen Family Studio Theater, CCM Village
University of Cincinnati

Reserving Tickets
Admission to Very Dumb Kids is free but reservations are required.

Tickets become available at noon on Monday, April 18. Visit the CCM Box Office or call 513-556-4183 to reserve. Limit two tickets per order.

Parking and Directions

Parking is available in the CCM Garage (located at the base of Corry Boulevard off Jefferson Avenue) and additional garages throughout the UC campus. Please visit uc.edu/park for more information on parking rates.

For detailed maps and directions, please visit uc.edu/visitors. Additional parking is available off-campus at the new U Square complex on Calhoun Street and other neighboring lots.

For directions to CCM Village, visit ccm.uc.edu/about/directions.
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 CCM Season Presenting Sponsor & Musical Theatre Program Sponsor: The Otto M. Budig Family Foundation

Community Partner: ArtsWave

Drama Studio Series Sponsor: Neil Artman and Margaret Straub

____________________

Story by CCM graduate student Charlotte Kies

CCM News
Rock out for summer credit at CCM.

Dance, Rock Out and Binge Watch for College Credit this Summer with CCM’s New Online Arts Elective Classes!

Do you need to fulfill your fine arts credits? Have you always wanted to learn to dance but couldn’t get over the stage fright? Do you have free time this summer to jam with a virtual band on your laptop or study the music of The Beatles, all while earning class credit?

This summer, you can complete your elective requirements online. UC’s College-Conservatory of Music offers 20 different general studies and fine arts elective courses during five different sessions this summer. These credit-granting courses cover a wide range of topics and are open to UC and non-UC students alike!

Online arts courses are just a click away: select a course type or session from the list below or visit ccm.uc.edu/summer/finearts to learn more!

Dance for summer credit at CCM. Jam for summer credit at CCM.
Binge watch for summer credit at CCM. Rock out for summer credit at CCM.

May-Mester: May 9 – 29
Full Summer Semester: May 9 – August 6
Session A: May 31 – July 3
Session E: June 22 – August 6
Session B: July 5 – August 6

Course Fees & Registration Info

May-Mester: May 9 – 29

JAPANESE POP, ANIME AND VIDEO GAME MUSIC – ONLINE
FAM 2050-001 | Credits: 3
Learn the evolution of Japanese Pop, Anime and Video Game Music (post 1980), including Anime theme songs, video game music and popular songs. Each topic will provide the composer’s biography, historical background and word-by-word translation of lyrics, while also investigating the cultural differences between Japan and America.
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Summer Semester (Full): May 9 – August 6

MUSIC APPRECIATION – ONLINE
FAM 2005-002 | Credits: 3

Get introduced to a wide range of composers, compositions, musical styles and musical terms and will place these musical works in the historical and culture context of each period.
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MUSIC OF THE BEATLES – ONLINE
FAM 2061-001 & 002 | Credits: 3

The Music of the Beatles has made an impact throughout the world both musically and sociologically. Their music reflects the cultural and social revolution of the 1960s and serves as a model for understanding all subsequent popular music. This class chronologically traces the band’s development from the early days through their dissolution and examines their groundbreaking production techniques, writing styles and the impact their music had on other musicians and social trends.
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WHAT’S HOT IN POPULAR MUSIC – ONLINE
FAM 2062-001 & 002 | Credits: 3

Examine current popular music and its trending styles and genres. Students will critique selected songs from the weekly Billboard charts and various other media resources, considering both the hottest artists as well as promising up-and-comers. Students will identify and compare unique composing and performing styles of today’s artists and identify links between the music business and societal trends. Weekly activities include reading, viewing and listening to examples, as well as completing assignments online
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Session A: May 31 – July 3

INTEGRATED MEDIA PRODUCTION – ONLINE
EMED 1015-001 | Credits: 3

Integrated Media Production I is an introductory course that provides students with a theoretical and practical foundation in the intersecting worlds of digital media production, content development, and new media design. This course is an overview of concepts and processes in convergent media production.
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MODERN DANCE BASICS – ONLINE
DNCE 1022-001 | Credits: 3
This one semester, repeatable course for non-dance majors introduces the techniques and movement vocabulary for contemporary and modern dance. Students will explore fundamental movement principles while developing improvisational and performance skills. They will also develop the perspectives necessary to critically analyze and further appreciate dance as an art form and educational tool with cultural values. Through interactive online instruction, students use recording devices (smartphones, laptops, camcorders, etc.) to develop their dance technique and build a dance community.
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GOING TO THE MOVIES – ONLINE
EMED 1075-001 | Credits: 3
Through lectures and screenings of classic films, students will explore the evolution of the motion picture as a unique and significant form of expression. The course includes investigation into film style, structure, distribution and consumption. Students will be guided in the development of aesthetic criteria for critical examination.
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MUSIC APPRECIATION – ONLINE
FAM 2005-001 | Credits: 3
Get introduced to a wide range of composers, compositions, musical styles and musical terms and will place these musical works in the historical and culture context of each period.
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AMERICAN MUSIC – ONLINE
FAM 2006-001 | 3 Credit Hours
A history of music in America from approximately 1620 to the present. The course considers musical developments in America and the social, political and religious movements that have shaped American musical life. Examines musical genres, styles, personalities and trends. No prior musical experience required.
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WORLD MUSIC – ONLINE
FAM 2007-001 | Credits: 3
An overview of traditional music from many cultures and regions throughout the world, with emphasis on non-Western traditions. This course examines music as a cultural phenomenon influencing the lives and traditions of contemporary cultures and past civilizations. World Music focuses primarily on traditional and folk music, both in the culture’s region of origin and its diaspora.
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JAMMIN’ WITH LAPTOPS – ON CAMPUS (MWF 10:00am–12:40pm)
FAM 2014-001 | Credits: 3
Explore the potentials of laptop computers for music making! Various technical topics (including analog versus digital sound, audio software, effects, gear, MIDI and audio programming languages) will be surveyed. In addition, a survey of the history of computer music will be conducted through seminal readings and recordings. These will provide participants with the technical and analytical skills to utilize their laptops to creative ends in both individual and group projects.
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EXPERIMENTAL ROCK – ON CAMPUS (MWF 1:30–4:10pm)
FAM 2016-001 | Credits: 3
This course will provide a detailed overview of the tools, techniques and musical styles which impacted Rock Music in the 1960s and 70s, as well as many mainstream and non-mainstream musical trends of the last 30 years. It will focus on innovations such as multi-tracking tape machines (which allowed for sound on sound, tape-delay and flange) and provide a technical overview of electronic instruments such as the synthesizer. Musical trends including the 1950s avant-garde and Minimalism will serve as a bridge to examinations of seminal acts such as the Beatles, Pink Floyd, Kraftwerk, Can, Neu!, Brian Eno and Talking Heads among others.
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JAMMIN’ WITH LAPTOPS – ONLINE
FAM 2023-001 | Credits: 3

Play, record, and make music with online instruments! There are three units, each with a distinctive music-making session: Individual Session (Unit 1), Collaborative Session (Unit 2) and Creative Jam Session (Unit 3). In Unit 1, you will study the basic knowledge of music making, including identifying musical instruments, playing online instruments and recording music you played through the exercises. In Units 2 and 3, you will form your own laptop band with online classmates to play and record music.
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JAPANESE POP, ANIME AND VIDEO GAME MUSIC – ONLINE
FAM 2050-002 | Credits: 3
Learn the evolution of Japanese Pop, Anime and Video Game Music (post 1980), including Anime theme songs, video game music and popular songs. Each topic will provide the composer’s biography, historical background and word-by-word translation of lyrics, while also investigating the cultural differences between Japan and America.
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HISTORY OF ROCK ‘N ROLL I – ONLINE
FAM 3031-001 | Credits: 3
Rock and Roll had humble beginnings in the Southeastern United States, but over time it developed into a force that has defined youth culture on a global scale. This course provides a chronological survey that examines the relationship between the music, its most successful and colorful artists, the associated recording technology and the impact of the genre on American culture. Through critical listening and reading, students will be able to make historically informed and thoughtful decisions about the music they select and enjoy. Finally, the course will encourage students to seek and appreciate new styles (and perhaps inspire those who seek a career as a pop music artist). No prerequisite necessary.
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Session E: June 22 – August 6

MEDIA IN YOUR LIFE – ONLINE
EMED 1011-001 | Credits: 3

The typical American spends about 11 hours a day consuming media. Could it be, based upon time usage alone, that media consumption is the most important activity in our lives? The media industry plays an enormously important role in our lives and is foundational to the effective functioning of our democracy. Would you like to possess a more sophisticated understanding of media production and its artistic and theoretical underpinnings? Wouldn’t you like to know more about the latest digital production tools? If you answered “yes” to any one of these questions, then this course is for you.
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Session B: July 5 – August 6

MODERN DANCE BASICS – ONLINE
DNCE 1022-002 | Credits: 3
This one semester, repeatable course for non-dance majors introduces the techniques and movement vocabulary for contemporary and modern dance. Students will explore fundamental movement principles while developing improvisational and performance skills. They will also develop the perspectives necessary to critically analyze and further appreciate dance as an art form and educational tool with cultural values. Through interactive online instruction, students use recording devices (smartphones, laptops, camcorders, etc.) to develop their dance technique and build a dance community.
_____

JAMMIN’ WITH LAPTOPS – ONLINE
FAM 2023-002 | Credits: 3

Play, record, and make music with online instruments! There are three units, each with a distinctive music making session: Individual Session (Unit 1), Collaborative Session (Unit 2) and Creative Jam Session (Unit 3). In Unit 1, you will study the basic knowledge of music making, including identifying musical instruments, playing online instruments and recording music you played through the exercises. In Units 2 and 3, you will form your own laptop band with online classmates to play and record music.
_____

JAPANESE POP, ANIME AND VIDEO GAME MUSIC – ONLINE
FAM 2050-003 | Credits: 3
Learn the evolution of Japanese Pop, Anime and Video Game Music (post 1980), including Anime theme songs, video game music and popular songs. Each topic will provide the composer’s biography, historical background and word-by-word translation of lyrics, while also investigating the cultural differences between Japan and America.
_____

HISTORY OF ROCK ‘N ROLL II – ONLINE
FAM 3032-001 | Credits: 3
Rock and Roll had humble beginnings in the Southeastern United States, but over time it developed into a force that has defined youth culture on a global scale. This course provides a chronological survey that examines the relationship between the music, its most successful and colorful artists, the associated recording technology and the impact of the genre on American culture. Through critical listening and reading, students will be able to make historically informed and thoughtful decisions about the music they select and enjoy. Finally, the course will encourage students to seek and appreciate new styles (and perhaps inspire those who seek a career as a pop music artist). No prerequisite necessary.
_____

Course Fees and Registration Info

Course fees for part-time students are $519 per credit hour for Ohio residents and $1158 per credit hour for non-residents. Costs include program fees.

UC students can register online at webapps2.uc.edu/ScheduleOfClasses.

Non-UC students can begin the registration process by visiting admissions.uc.edu/transfer/transfer_non-matric.

CCM News
One of the design inspirations for CCM's new production of THE CUNNING LITTLE VIXEN.

Discussing the Cycles of Life Presented in CCM’s ‘The Cunning Little Vixen’ with Director Vince DeGeorge

Leoš Janáček’s fantastical opera The Cunning Little Vixen comes to the CCM stage April 8 – 10 as part of this year’s Mainstage Series. To share what inspired his vision for the anthropomorphic production, Stage Director and Choreographer Vince DeGeorge reflected on the relationship between humans and nature with CCM Public Information Graduate Assistant Charlotte Kies.

A mask from CCM's 2016 production of THE CUNNING LITTLE VIXEN. Photography by Mark Lyons.

A mask from CCM’s 2016 production of THE CUNNING LITTLE VIXEN. Photography by Mark Lyons.

Could you tell me about your inspiration for the design of the masks in this production?

I’ve had this little vixen figurine for about 10 years. It was a gift from my wife, and it has become a touchstone for this project. You’ll see the geometric nature of the fox sculpture reflected in the masks by third-year graduate student and Costume Designer Oran Wongpandid. They’re very cool looking. There’s a sort of formalism about this little creature that I love, but there’s also a playfulness that embodies the spirit of this production.

CCM’s production of Leoš Janáček’s 'The Cunning Little Vixen.’ Photo by Mark Lyons.

CCM’s production of Leoš Janáček’s ‘The Cunning Little Vixen.’ Photo by Mark Lyons.

How do they use these masks?

They carry the masks and sometimes wear them. They don’t sing with the masks on. One of the things that is most prevalent in this opera is the relationship between humans and animals. The actors come on stage as humans and they transform into animals in front of the audience. It’s a simple transformation through movement and mask work.

Is this something traditionally done, or is this a new idea of your own?

That’s something that I bring to it. Mark Halpin, the designer of the set, and I have never done a show together but we’ve worked a lot together. He sort of understands my aesthetic and he brought his own point of view to it as well. He has come up with this design that I think really embodies this very human aspect of this story. We become animals to tell a very human story.

'The Cunning Little Vixen'

CCM’s production of Leoš Janáček’s ‘The Cunning Little Vixen.’ Photo by Mark Lyons.

What is that human story?

I think the human story is that every day, life is happening all around us. Often times we are too distracted, or aggressive, or controlling to notice. If you actually take the time to be aware, you will experience everything that’s going on around you. You may not experience all of it, but you will be more receptive to experiences. That’s the journey of the Forester, from very aggressive and controlling, to very open and receptive.

CCM’s production of Leoš Janáček’s 'The Cunning Little Vixen.’ Photo by Mark Lyons.

CCM’s production of Leoš Janáček’s ‘The Cunning Little Vixen.’ Photo by Mark Lyons.

The Vixen has a different journey. She starts very innocent, open and receptive. Then events occur that change her to become more aggressive and more controlling. She eventually finds her way back into a much more open and receptive place with her love, the Fox.

What’s so beautiful about this opera is that it runs in cycles, in circles. Someone starts a scene and ends up in almost the same place, but something has changed within them. There is a giant cycle that’s going on within the entire opera and the Vixen has a cycle that’s running through her and the Forester. We don’t see the top of the Forester’s cycle but we see him changing back to this more open and receptive person. The music just cycles and cycles in a wonderful repetition and revision that Janáček is an expert at creating.

That sort of fits in with what I’ve read.

The opera is full of life cycles! But within them are tiny little journeys that are going on within ALL of the characters.

That is one aspect that makes this opera so amazing, and another reason why Mark and I decided to set it in a more distilled, abstract way, as opposed to setting it in the 1920s or in Czechoslovakia. To nail it down to a certain time period could diminish the universality of the performance. It doesn’t have a time period, but I think the story in itself is timeless. I’m not saying this is the way to approach this opera, this is the way we approached it.

'The Cunning Little Vixen'

CCM’s production of Leoš Janáček’s ‘The Cunning Little Vixen.’ Photo by Mark Lyons.

Is this opera often translated into English?

Well, I’m not an expert at that. What I can say is that when I was an undergrad here, David Adams was my voice teacher. Then he did the translation of my first opera here!

That’s a nice little cycle!

Yes, it is! And even though he is a professor emeritus here, David has been at a lot of rehearsals. He has been really involved. It’s been fantastic to work with him in a very different way and still learn from him.

Was it his choice to put this in English?

Actually, David wrote this for Professor Kenneth Shaw’s production here but then retired after spending a lifetime here. This is one of our ways to thank and honor him and the work that he’s done for CCM.

Are English-sung operas a theme this year?

Well, that’s something that we as a department really made an effort to do this year. Both Mainstage Operas were in English, which is more challenging to sing than other languages. The students need to learn how to sing in English and make it understandable and not lose their vocal quality.

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Leoš Janáček’s The Cunning Little Vixen runs April 8 – 10 in UC’s Corbett Auditorium. Mark Gibson conducts with stage direction and choreography by Vince DeGeorge. This production will be sung in English, with a new translation by CCM Professor Emeritus David Adams. You can learn more about the production here.

CCM News Faculty Fanfare
The logo for the Music for Food initiative.

CCM’s Music for Food Concert Series Continues Sunday, April 3, 2016

CCM’s Music for Food concert series continues at 4 p.m. this Sunday, April 3. Student and faculty performers will use their artistry to fight hunger through this new chamber music series, which benefits Cincinnati’s Freestore Foodbank.

Organized by CCM’s string quartet-in-residence, the Ariel Quartet, along with faculty artists Lydia Brown and and Gwen Coleman Detwiler, the performance takes place in Room 300 of CCM’s Dieterle Vocal Arts Center. This intimate space provides the perfect setting for an afternoon of chamber music!

In lieu of paid admission, concert attendees are asked to provide non-perishable food items or a cash donation. All proceeds benefit the Freestore Foodbank.

About Cincinnati’s Freestore Foodbank
The Freestore Foodbank is the largest emergency food and services provider to children and families in Greater Cincinnati, Northern Kentucky and Southeast Indiana. The organization distributes 20 million meals annually to low-income individuals and families. The Freestore Foodbank supports more than 250 community partners in 20 counties throughout Kentucky, Ohio and Indiana, including food kitchens, homeless shelters, emergency food pantries and social service centers.

By providing emergency food distribution, the Freestore Foodbank responds to the issue of poverty and food insecurity in our community and provides an array of services (emergency clothing, housing services, SNAP assistance, Medicaid outreach and others) aimed at creating self-reliance. The Freestore Foodbank is a member of Feeding America and United Way.

The Freestore Foodbank is an independent nonprofit 501(c)(3) organization. Learn more by visiting www.freestorefoodbank.org.

About Music for Food
Music for Food is a musician-led initiative for local hunger relief. The organization’s concerts raise resources and awareness in the fight against hunger, empowering all musicians who wish to use their artistry to further social justice.

Now in its sixth season, Music for Food has created over 250,000 meals through donations made at concerts on behalf of more than a dozen hunger-relief organizations. Started in Boston, Music for Food now has chapters in nine US cities. More than 100 artists and ensembles have performed for Music for Food worldwide.

Music for Food is a federally recognized 501(c)(3) nonprofit organization registered in the Commonwealth of Massachusetts. Learn more by visiting www.musicforfoodboston.org.

Performance Time
4 p.m. Sunday, April 3

Location
Room 300, Dieterle Vocal Arts Center
CCM Village, University of Cincinnati

Admission
Non-perishable food items or a donation to the Freestore Foodbank. Suggested donation: $20 general, $15 students.

Parking and Directions
Parking is available in the CCM Garage (located at the base of Corry Boulevard off Jefferson Avenue) and additional garages throughout the campus of the University of Cincinnati. Please visit uc.edu/parking for more information on parking rates.

For detailed maps and directions, please visit uc.edu/visitors. Additional parking is available off-campus at the new U Square complex on Calhoun Street and other neighboring lots.

For directions to CCM Village, visit ccm.uc.edu/about/directions.

CCM News