On this episode, we hear from David Duffield, a historian with The Center on Colfax in Denver, Colorado. David was part of a panel of experts hosted by Central City Opera on June 12, 2022, to give perspectives on the themes within the chamber opera TWO REMAIN. I asked him to be on the podcast to dig even deeper, and he shares about LGBTQ history in Colorado and beyond, art as activism, and cultural representation. One of my favorite things he says in the interview is, “You feel a little more human when you see yourself in the artmaking.” David Duffield is from Denver and is a social studies teacher with Denver Public Schools. He helped found the Colorado LGBTQ History Project in 2014 with The Center on Colfax, focusing on Oral History, Archiving, Education, and Networking. Among the accomplishments of the History Project are over 100 oral histories, the donation of 36 archival collections to receiving institutions, the creation of lesson plans, exhibits, and public tours of queer history in Colorado, and dozens of other talks and collaborations with people around the world. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org.

Season 7, Episode 8 - David Duffield, Historian, on TWO REMAIN

On this episode, we hear from sopranos Rebecca Caine and Diana Newman, principals in THE LIGHT IN THE PIAZZA. Rebecca plays the role of Margaret Johnson, and Diana plays the role of Margaret’s daughter Clara. This is the first time they’ve worked together, and watching them onstage, you’d think they were old friends. Rebecca shares how much she loves playing a woman of a “certain age,” and Diana talks about how she approaches Clara’s neurodivergence. You’ll hear more about how the perfect costume helps get an actor into character, how much Rebecca and Diana love being onstage with each other and their castmates, and how the Supreme Court decision that overturned Roe versus Wade influenced how they thought about this story. This interview was recorded on July 7, 2022. Canadian soprano Rebecca Caine has had a career divided between Opera and Musical Theatre, making her West End debut at age 19 as Laurey in OKLAHOMA! She then sang the role of Eliza in MY FAIR LADY on the National Tour. While at Glyndebourne Opera Festival, she was asked to join the Royal Shakespeare Company where she created the role of Cosette in LES MISERABLES. She was also part of the original cast of PHANTOM OF THE OPERA as Christine. Her long career continues to span the realms opera, musical theatre, straight theatre, and cabaret in the UK, United States, and around the world.   American soprano DIANA NEWMAN brings “fresh and intense” performances to opera houses and concert stages across the United States and Europe. She has recently appeared with the Dallas Opera and the Metropolitan Opera. A recent graduate of the Lyric Opera of Chicago’s Ryan Opera Center, she returned this season for the company’s Ring Cycle. Diana was also recently a soloist with the Los Angeles Philharmonic at the Hollywood Bowl for AMERICA IN SPACE in celebration of the 50th anniversary of the Apollo 11 moon landing. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org.

Season 7, Episode 7 - Rebecca Caine and Diana Newman, Principals in THE LIGHT IN THE PIAZZA

On this episode, we hear from conductor Brandon Eldredge and soprano Tessa McQueen about Act One of Jake Heggie and Gene Scheer’s chamber opera, TWO REMAIN. Act One focuses on the true story of Polish poet Krystyna Zywulska surviving the Holocaust – and the psychological trauma she dealt with the rest of her life. It’s based on her searing memoir of 1946, “I Survived Auschwitz.” Brandon and Tessa share more about Krystyna’s life, about how challenging it is to perform and interpret a story of this magnitude, and how important it is to keep telling these stories. Brandon Eldredge has built a broad-scoped knowledge and experience as a conductor, pianist, and operatic coach, working across the United States, Germany, and Sweden. He is CCO’s Associate Conductor and Chorus Master this summer, working on all three productions. During the year, he is on staff at Virginia Opera as Assistant Conductor and Chorus Master. Soprano Tessa McQueen is a first year Studio Artist in the Bonfils-Stanton Artists Training Program, and in addition to her role of Krystyna Zywulska in TWO REMAIN, she is in the chorus of Die Fledermaus and several opera scenes for the Short Works performances. Tessa received her Bachelor of Music degree in Voice Performance from Oklahoma City University and will begin her Master’s degree at Rice University this fall. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org.  

Season 7, Episode 6 - Brandon Eldredge and Tessa McQueen on TWO REMAIN

Season 7, Episode 5 - Dan Wallace Miller and Curt Olds on TWO REMAIN

On this episode, we pull back the curtain and hear from the Costume Designer for THE LIGHT IN THE PIAZZA, Edina Hiser. There are a LOT of costumes in this production, and Edina gives us the insights into the symbolism she embeds in the design, the anatomy of a quick change – since there are so many! – how she is able to engineer costumes to function efficiently yet not alter their authenticity, and the joy she gets from helping performers become more comfortable with their body images through well designed costumes. Edina Hiser graduated from the University of Southern California with a Bachelor of Fine Arts degree in theatre design, and she is now the Resident Costume Designer for the Thornton School of Music at USC. As a designer, she is bold, colorful, and collaborative, with a passion for storytelling and a talent for creative problem-solving. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org.

Season 7, Episode 4 - Edina Hiser, Costume Designer for THE LIGHT IN THE PIAZZA

On this episode, we hear from two principal singers in DIE FLEDERMAUS: mezzo-soprano Kira Dills-DeSurra who plays the role of Prince Orlofsky, and tenor William Ferguson, who plays the role of Eisenstein. Both Kira and Will are seasoned comedic performers, and their healthy senses of humor are on full display during this episode. Will and Kira talk about the magic of live performance and how much the audience influences them, how April Fools’ is a recognized holiday in both their families, how they got into opera in the first place, and the role that Central City Opera plays in the context of opera in America. Kira Dills-DeSurra is a vibrant American mezzo-soprano whose magnetic stage presence communicates effortless charm and truth. A champion of new and rarely performed works, Kira has appeared in many American premieres, and she also cultivates skills in musical improvisation and circus arts as part of her broad-ranging palate of storytelling tools. She is a graduate of Roosevelt University and the University of Southern California. Tenor William Ferguson has always pushed the boundaries of opera performance through his exploration of new repertoire and through the commitment of his characterizations. A Juilliard graduate, he has sung with Santa Fe Opera, Opera Australia, New York City Opera, Salzburger Landestheater, Opéra de Québec, Opera Philadelphia, Opera Theatre of St. Louis, Dallas Opera and The Metropolitan Opera, as well as symphonies around the world. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org. 

Season 7, Episode 3 - Kira Dills-DeSurra and William Ferguson, Principals in DIE FLEDERMAUS

On this episode, we dive deep into DIE FLEDERMAUS with stage director Joachim Schamberger and conductor John Baril. While on the surface, this operetta may seem like nothing but champagne bubbles and fun, Joachim and John reveal the complexities of the story and music that make this operetta timeless. Joachim is an acclaimed stage director and video designer who is currently Director of Opera at Northwestern University in Chicago. He is in demand as a director, designer, and teacher throughout the world. DIE FLEDERMAUS is his third production with Central City Opera. John Baril, Principal Conductor, is also the Music Director of Central City Opera, and this is his 30th year with the company. He got his start as Festival Scheduler back in 1992. John has conducted throughout the United States in the genres of opera, ballet, symphonic works, and music theatre. Both John and Joachim have been featured on the Central City Opera Podcast in past seasons – visit ccopodcast.org to find their episodes and learn more about them. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org.  

Season 7, Episode 2 - Joachim Schamberger and John Baril on DIE FLEDERMAUS

On this episode, stage director Ken Cazan and conductor Adam Turner share their insights into the musical THE LIGHT IN THE PIAZZA. This is Ken’s 20th season directing at Central City Opera, and Adam has worked on the music side for seven seasons since 2011, first as associate conductor, then as guest principal conductor. Ken and Adam dig into the story and sounds of this Tony-Award-winning musical, elaborating on the cast, the universal themes in the story, and the inspiration behind the work. And in celebration of our 90th Anniversary, they share what makes Central City Opera special to them. Ken Cazan is currently a Full Professor, Resident Stage Director, and Chair of Vocal Arts and Opera at the University of Southern California Thornton School of Music, where he has worked since 2004. He is in demand internationally as a stage director and masterclass clinician. In 2017, he was inducted into the Grove Dictionary of Music as an expert in the works of Benjamin Britten. Conductor Adam Turner is currently Artistic Director of Virginia Opera. He is a champion of new works, and first emerged on the international stage at age 25 when he took over conducting responsibilities of a production of Les Miserables in Germany. Find out more about Ken and Adam on past episodes of the Central City Opera Podcast at ccopodcast.org.  Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org.

Season 7, Episode 1 - Ken Cazan and Adam Turner, THE LIGHT IN THE PIAZZA

On this episode, we go behind the scenes with Technical Director Kerry Cripe and Stage Manager Angela Turner. Kerry’s been TD with Central City Opera since 2017, and this was Angela’s first summer with us. And what a summer it’s been! Kerry and Angela share all the insider details on producing an outdoor opera festival in Colorado, complete with 100-degree weather and monsoons. They also share some of their favorite parts of Rigoletto, the show that Angela is working on, as well as what they each did to keep their spirits and skills up during their long hiatus from live performance this past year-and-a-half. After this interview, I saw Kerry and Angela backstage at a show. Kerry wanted to emphasize that while they talked a lot about challenges and things that went wrong this summer – which they then fixed – there’s also 1000 things that have to go RIGHT in order to make a show happen…and if they go right, the audience is blissfully unaware of all those intricate processes and parts. The magic of live theatre – it’s so good to be back! Read the show notes from this episode here.  Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org. 

Season 6, Episode 7 - Behind the Scenes with Kerry Cripe and Angela Turner

On this special “Young Artist Spotlight” episode, we meet three singers from Central City Opera’s Bonfils-Stanton Foundation Artists Training Program: baritone Bernardo Medeiros, mezzo-soprano Michelle Monroe, and soprano Marin Tack. The two women have small but significant roles in all three shows, and Bernardo is covering the two title roles, Rigoletto and Aeneas. We talk about what this summer has been like so far and what they see as priorities to keep opera going into the future. All three auditioned for the program back in 2019 – and when the pandemic hit, CCO had to postpone the 2020 festival. Like so many others in the performing arts industry, Bernardo, Michelle and Marin had to find ways to keep going. The first line of the song “You’ll Never Walk Alone” from CAROUSEL is, “When you walk through a storm, keep your chin up high.” These artists, along with the rest of their colleagues, did just that. Read the show notes from this episode here.  Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org. 

Season 6, Episode 6 - Young Artist Spotlight - Bernardo Medeiros, Michelle Monroe, and Marin Tack

On this episode, the director of this summer's production of Purcell's DIDO AND AENEAS, Dan Wallace Miller, talks about ALL the things - his outdoor, updated production in the Central City Opera Garden, his background in film and how he brings that into opera, how his love of Wagner and all things music drama started at the very young age of four, how he approaches older works to make them new again for today's audiences, his vision and hope for the future of opera - and so much more. You'll definitely want to check out the show notes page for this episode - it is chock full of goodies. Read the show notes for this episode here. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org. 

Season 6, Episode 5 - Dan Wallace Miller, Director of DIDO AND AENEAS

On this episode, soprano Anna Christy and baritone Steven LaBrie talk about their roles of Julie Jordan and Billy Bigelow in CAROUSEL. Steven and Anna discuss the big question most of us think when watching this show – why does Billy treat Julie the way that he does, and why does Julie stay? Anna also shares how the roles she’s played on the Central City Opera House stage have shaped her as an artist, and Steven goes into how his first big role with a lot of spoken dialogue has been both challenging and immensely rewarding. They also share what they’d like audiences to take away from this summer’s production of Rodgers & Hammerstein’s CAROUSEL. Read the show notes for this episode here. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org. 

Season 6, Episode 4 - Anna Christy and Steven LaBrie, Principals in CAROUSEL

On this episode, soprano Alisa Jordheim and tenor Galeano Salas join the podcast from a porch in Central City – so you’ll hear some wind and cars driving by. Alisa is performing the role of Gilda in this summer’s production of Verdi’s RIGOLETTO, and Galeano is performing the role of The Duke of Mantua in the same production. They are also fairly recent past Apprentice Artists, having gone through CCO's Bonfils-Stanton Artists Training Program about a decade ago. Alisa and Galeano share what they’ve been up to since then, and what it’s like to be back in Central City singing these roles, plus they dig into the psyche of their characters, talk about the challenges of singing outdoors, and so much more. Read the show notes for this episode here. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org. 

Season 6, Episode 3 - Alisa Jordheim and Galeano Salas, Principals in RIGOLETTO

On this episode, Stage Director Jose Maria Condemi and Conductor/CCO Music Director John Baril discuss the details of this summer's production of Verdi's RIGOLETTO. John talks about the adjustments made the orchestra - including how he wrote a tuba part! - and Jose Maria tells us why and how the time period was modified to modern day. (Here's a hint - the weather is a factor.) The two also debate whether or not there is a "true villain" in the opera, and they share how the pandemic has changed them and the industry as a whole on a profound level.   Read the show notes for this episode here. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org. 

Season 6, Episode 2 - Jose Maria Condemi (Director) and John Baril (Conductor) on RIGOLETTO

On this first episode of season six of the Central City Opera Podcast, we hear from stage director Ken Cazan. Ken is back this summer in Central City for his 19th season to direct Rodgers & Hammerstein's musical CAROUSEL. Ken dives deep into the story and themes of this beloved musical, how he and conductor Christopher Zemliauskas made the adjustments for our special outdoor production, and how he connects with the story of CAROUSEL on a personal level.  Read the show notes for this episode here. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org. 

Season 6, Episode 1 - Ken Cazan, Stage Director of CAROUSEL

Opera Central and the Central City Opera Podcast proudly host the heads of two leading equity, diversity, inclusion and accessibility (EDIA) organizations in Colorado: IDEA Stages Founder Lisa Young and Alliance for Music Education Equity Director Ana Luna Uribe. They talk with CCO Audience Development Manager Teila Theisen about their goals for our local arts community, “working out” or “exercising” inclusivity, the importance of stepping outside your bubble and much more.  Go to ccopodcast.org for the full show notes.    

Season 5, Episode 9 - Ana Luna Uribe, Lisa Young and Teila Theisen

Colorado Music Ambassador and Flobots emcee/lead singer Stephen Brackett talks about music as a tool for liberation, working with young people through his nonprofit Youth On Record and the state of music in Colorado with CCO Director of Marketing and Communications (and longtime friend) Gail Bransteitter. From the halls of George Washington High School to leadership of the Colorado arts world, Stephen and Gail have both been dedicated advocates and artists making a difference in our community for decades. Learn more about the Colorado Music Ambassador position and the word of both Stephen and previous Colorado Music Ambassador Shawn King of DeVotchKa. Stephen co-founded the rap/rock experimental band, the Flobots, nationally known for songs like “Handlebars” and “Rise” and their focus on social and political consciousness.  Check out their music and mission at flobots.com. Watch for new songs dropping every three weeks in 2021! The Flobots created the Denver nonprofit Youth on Record offering for-credit music classes in music production, poetry and ethnic studies during the school day in high schools and middle schools. Stephen sat on the board for about ten years, acted as board chair for two and stepped off the board to become Director of Special Programs last year. During the interview he mentions the Denver Children’s Home, learn more at www.denverchildrenshome.org.  Youth On Record offers free and open to the public, virtual programming five days out of the week. Explore their offerings and sign up at www.youthonrecord.org.  About Youth On Record, Stephen says: “What started as an attempt of a band to do more than just soapbox but to actually live our lyrics and create pathways to challenging the power and agency that our songs were about, it actually grew into something that far exceeded our expectations. It has been the best contribution that could have come out of my musical career...That is the thing I’m most proud of.”  “We’re using (music classes) as a delivery method for liberation. We’re not teaching music classes for music’s sake, we are teaching music classes so that during the school day, these students have the opportunity to speak their world, their perspective, their view, and to do so with the excellence that the arts kind of require of you.” “When you’re battling perfection, that means that you never win, but the grit that you earn in trying to meet the impossible gives you a kind of resilience that you can then leverage against the rest of your academic day. That’s what I believe when I’m talking about how music can be a great medium for liberation and a great leverage point for somebody becoming a life-long learner.”  Stephen has been all over the news in Colorado for more than a year! Check out some of the headlines below:  Black History Month Honors Stephen Brackett “Brer Rabbit” - How music gives voice to social justice Nine People to Watch in Denver's Culture Scene in 2021  WE W

Season 5, Episode 8 - Stephen Brackett and Gail Bransteitter

Phebe Berkowitz-Tanners grew up in the Central City Opera House. Her family made a second home in our magical, old western town during the summers of 1953-1963 when her father, Metropolitan Opera violist David Berkowitz, played the Festival season with the Central City Opera Orchestra. Now a dedicated supporter of the company, Phebe reminisces with CCO Director of Development Katie Nicholson about mounting backyard opera productions with other children of the Festival company (attended by famous singers and actors of the main stage!), experiencing the world premiere of The Ballad of Baby Doe from behind the scenes and the expansive and international Central City Opera community that she found throughout her career as an opera stage director and production professional. Guest host Katherine (Katie) Nicholson was recently featured on the Central City Opera blog, take a read get to know her better! Those of you watching the video version of this interview will notice the poster for Central City Opera’s Voice Your Dreams Endowment Campaign behind Katie. If you want to learn more and/or contribute to the Campaign to help our company endure long into the future, contact Katie at knicholson@centralcityopera.org or 303-331-7015! Special thanks to Central City Opera Office Administrator Wanda M. Larson who’s helped us keep in close contact with our guest, Phebe, throughout the years and continues to show her passion for unforgettable Central City Opera experiences and community. You’ll probably recognize her if you’ve been up to the summer Festival, she’s the Gift Shop Admin/Buyer, too! Historical preservation is a pillar of Central City Opera’s mission. Learn about the dozens of historic properties we own and maintain. Explore more Central City history, and even schedule a tour at www.gilpinhistory.org. “The famous ghost town” of Nevadaville is just up the street from Central City. Learn more about it at www.uncovercolorado.com. Like many patrons and visitors, Phebe mentions paranormal experiences in and around our properties. Have you encountered something ghostly in Central City? Phebe talks about many exciting moments and incredible figures from Central City Opera, including:  Phebe spent her first summer at Central City Opera in 1953, the production was Bizet’s Carmen. She was 7 and her sister was 9. They fell in love with the music, sitting in on every rehearsal, and they began the tradition of performing their own versions of the season’s operas in their backyard with the other children of the Festival company. They’d string up a sheet to make a stage curtain, and star actors and singers would even come to see their shows! According to Phebe, these “parodies” and performances went on to inspire the tradition of our famous singing ushers. You’ll hear the famous Risë Stevens recording of Carmen that Phebe and her sister loved so much as background music during this podcast. Wonderful performers Phebe recalls knowing as a

Season 5, Episode 7 - Phebe Berkowitz-Tanners and Katie Nicholson

En Mis Palabras artists share their thoughts and experiences on racially accurate casting, representation in the performing arts and the importance of telling diverse stories on the operatic stage in today’s episode. Guests include Mica Dominguez-Robinson, who originated the leading role of Ana Maria, and brand-new cast members Daniela Guzmán-Égüez (Ana Maria) and Armando Contreras (Esteban). Hosted by CCO Marketing Content Manager and Opera Central Producer Margaret Siegrist. Central City Opera commissioned our bilingual, one-act opera En Mis Palabras/In My Own Words more than 15 years ago, with the goal of acknowledging the 1/5 Latino population here in Colorado. The opera tackles themes of immigration, family and coming of age and is performed regularly as a part of year-round education and community engagement programming. Over 19,000 people have seen it since its 2006 premiere. Central City Opera committed to casting the lead role of Ana Maria only with LatinX artists since the opera was commissioned, and that practice has been honored to this day. This third and final conversation focused on En Mis Palabras and diversity, equity and inclusion in the arts amplifies the voices of the artists of color who perform in the program!   Settle in for coffee and conversation with us. Text PALABRAS to 20123, and find great deals on over 400 coffees roasted to order and shipped to you by the bag from the nation’s best roasters. A portion of all purchases goes to Central City Opera thanks to our partners at Eat4Art.   A note on En Mis Palabras personnel and casting: “Touring artists,” a term you heard during the interview, refers to the singers, instrumentalists and production staff who perform as part of our year-round education programs. Most shows, including En Mis Palabras, are cast with multiple artists in each role so that Central City Opera is able to best serve our communities from a scheduling perspective. The artists you’ll meet in these episodes are just a few of the many current and past cast members of the show!   What are Mica, Dani and Armando up to in the near future?  Both Armando and Dani perform in Boulder Opera Company’s November 2020 production of La bohème, set in the era of COVID-19. Learn more and buy tickets at boulderoperacompany.com Armando teaches voice lessons and is currently accepting new students. Apply at Resonance. Mica looks forward to performing the following roles in postponed productions: Dorothy in The Wizard of Oz, the “Day by Day” singer in Godspell, ensemble in Sweeney Todd and Bright Star and returning as a featured singer in the Cirque Dreams National Tour.    Mica talks about a couple momentous moments for inclusive casting in musical theater:  Brittney Johnson Makes History as Broadway's First Glinda of Color in Wicked Broadway's Phantom of the Opera Announces First Asian-American Christine    Many performers of color and organizations championing diversity, equity and inclusion were

Season 5, Episode 6 - Ana Maria Inspires: EN MIS PALABRAS

The conversation on our original, bilingual opera En Mis Palabras/In My Own Words and diversity, equity and inclusion in the arts continues. Today we discuss Su Teatro and Central City Opera’s collaboration on the En Mis Palabras workshop and premiere, Denver’s rich Chicano history and art as cultural affirmation. Featuring some of the original artistic minds behind the opera, director Tony Garcia and former CCO Director of Education and Community Engagement Deb Morrow, the interview is hosted by CCO Marketing Content Manager and Opera Central producer Margaret Siegrist.    Central City Opera commissioned En Mis Palabras/In My Own Words more than 15 years ago, with the goal of acknowledging the 1/5 Latino population here in Colorado. The opera tackles themes of immigration, family and coming of age and is performed regularly as a part of Central City Opera’s year-round education and community engagement programming. Over 19,000 people have seen it since its 2006 premiere.   Settle in for coffee and conversation with us! Text PALABRAS to 20123, and find great deals on over 400 coffees roasted to order and shipped to you by the bag from the nation’s best roasters. A portion of all purchases goes to Central City Opera thanks to our partners at Eat4Art. Cheers!   Central City Opera collaborated with Tony Garcia and Su Teatro, where he’s Executive Artistic Director, for the workshop and premiere of En Mis Palabras in 2006. Learn more about Denver’s Su Teatro Cultural & Performing Arts Center at suteatro.org and in the words of Tony Garcia. Born from the Chicano Civil Rights Movement of the 1960s and 70s, Su Teatro (Your Theater) began in 1972 as a student-organized group at the University of Colorado at Denver. In 2020, the company celebrates 10 years at the Denver Civic Theater—an iconic fixture of the Santa Fe Arts District—making Su Teatro the company to make its home in the theater for the longest period of time of any other group, as well as the first to own it. Learn more about Su Teatro’s history and productions on the company’s website.   Referenced a few times throughout the interview, John Moore profiled Tony’s life and career in a 2019 article about his Community Service in the Arts Award. “The Bonfils-Stanton Foundation saluted Su Teatro Executive Artistic Director Tony Garcia for four decades of promoting Latino culture in Denver through the performing arts by presenting him with its Community Service in the Arts Award on May 14, 2019.”   Deb Morrow has been General Manager at the Arvada Chorale since 2019. Learn more about the community chorus and its 43-year history arvadachorale.org.   Composer Roger Ames and librettist Jeffery Gilden were also important members of En Mis Palabras/In My Own Words’ original creative team. Hear more from Roger about the making of En Mis Palabras and recent, collaborative language/dialect improvements to the libretto in Season 5, Episode 4 of the Central City Opera P

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