Preview Mode Links will not work in preview mode

Opera for All Voices (OFAV) began as a consortium of North American opera companies committed to co-commissioning and co-producing new operatic works for audiences of all ages that bear the same artistic integrity and depth of storytelling as main stage works. Over several years it has grown in its mission to tell "stories of our time." Follow host Andrea Fellows Fineberg from The Santa Fe Opera and OFAV collaborators and stakeholders as we explore the process, the context, and the story of commissioning and producing new operas in America. www.santafeopera.org

Aug 15, 2018

Where you begin and where you end up are often two very different things. 

While this final episode of the season is definitely NOT the end, we thought it was a good time to pause, check in with our consortium members and commissioned artists, and speculate on what lies ahead for Opera For All Voices.

And for that...


Aug 8, 2018

All the way back in episode 01, we began this season in New York City, celebrating the career of Charles MacKay, who has been the General Director of the Santa Fe Opera since 2008.

Charles is a known visionary in the opera industry who has given opportunities to countless new artists, musicians, and administrators...


Aug 1, 2018

"Postville: Hometown to the World" almost didn't happen -- at least not as part of Opera for All Voices. 

The true  and timely story of immigrant workers in a Kosher slaughterhouse and meat packing plant that was raided by ICE in 2008 in the town of Postville, Iowa felt too large in scope for the OFAV framework -- 3...


Jul 25, 2018

Andrea always says, "our best education program is what happens on the main stage," and it's true, but how do we get new audience members TO the main stage?

Education, outreach, programs and partnerships... these departments are not just about programming for children and schools, but even more so about building...


Jul 18, 2018

For such an ambitious undertaking as Opera for All Voices (OFAV) -- balancing the needs of multiple companies, production budgets planned years in advance, the commission of new works with very little to go on up front, hiring musicians and singers, the changing landscapes of main stage vs workshop premieres, leaps...