The FRIENDS of Pittsburgh Opera Newsletter includes a segment for the monthly newsletter called the "Spotlight Series." Originally called "Meet the Team," this segment debuted in the 2017-18 season to provide an inside look at the opera world and the people in it. In the dropdowns below, read the "Spotlight" interviews with a number of interesting subjects, such as Pittsburgh Opera employees, performers, supporters, and affiliates.
Stay tuned for future interviews, and become an FPO member to receive emails about these interviews and all of the FPO happenings.
FPO 2020 Spotlight Series: Michael R. Komo
FPO 2020 Spotlight Series: Meet Michael R. Komo, Esq., President-Elect, New Guard Executive Council
Tell me how you first got involved with Pittsburgh Opera?
After being enchanted at my first Pittsburgh Opera performance two years ago, I knew that Pittsburgh Opera is a cultural treasure in the city to which I wanted to contribute my talents to make a difference in Pittsburgh.
Tell us more about the New Guard and specifically your role?
The New Guard is the young professionals’ branch of Pittsburgh Opera. The New Guard has a mix of lifelong and new opera lovers aged 21-40. I am the President-Elect of the New Guard Executive Council, comprised of six leaders who plan events for New Guard members and work to bridge the gap between lifelong members and new members of Pittsburgh Opera, as well as bring new ideas to Pittsburgh Opera.
How would your family and friends describe you?
My family and friends have lovingly described me as someone who has an enthusiasm for his passions that cannot be manufactured. They have thoughtfully referred to me as someone who is a passionate, driven, advocate for the causes I champion.
What might someone be surprised to know about you?
Aside from the current president, I have met every living president.
Tell me about someone who had an impact/influence on who you are today?
My mom is the person who has had the most influence on me. She is a strong woman, mother, and person. She taught me to stand up for what was right, treat other people the way I wanted to be treated, and always give my best effort. I admire her so much.
What have you found most challenging/rewarding being a part of the New Guard?
The most challenging part of leading the New Guard is convincing someone who has never experienced an opera to attend a performance. That being said, once people experience Pittsburgh Opera for themselves, they are typically mesmerized. The most rewarding part of leading the New Guard is hearing people tell me how much they enjoyed a performance after they attend one.
What do you wish other people knew about the Pittsburgh Opera?
Pittsburgh Opera is the seventh oldest opera company in the United States. Most people are already familiar with the amazing sports teams we have in Pittsburgh, but not enough people are aware of the world class opera company we have.
What should others expect for the New Guard in 2020?
We have a roster of exciting events coming up in 2020. The first 2020 New Guard event will take place on Saturday, March 28, 2020. It is the Second Annual LGBT/Ally Night Out at the Opera. I brought the idea of an annual LGBT/Ally Night Out to Pittsburgh Opera, and I am thrilled with the positive reception I received from Pittsburgh Opera and attendees alike. I hosted the first installment of the event last year, and I am proudly hosting the second installment of the event this year. This annual event is a meaningful way to bring together members of the LGBT community and allies for an elegant evening at Pittsburgh Opera.
What are some ways for others to get involved in the New Guard?
Individuals can become members of the New Guard by purchasing a membership online (https://www.pittsburghopera.org/about/newguard). An individual membership for one person costs $75, and a dual membership for two people who enroll at the same time costs $100. A New Guard membership entitles each member to two (2) tickets to any Pittsburgh Opera performance and discounted rates for New Guard and Pittsburgh Opera events alike.
December 2018: Robert Boldin, Artistic Administrator
Pittsburgh Opera, Meet the Team: Meet Rob Boldin!
How would your family and friends describe you?
I would hope they would say laid-back and easy-going, but also passionate about what I do and the career to which I’ve dedicated most of my life.
What might someone be surprised to know about you?
I listened to lots of different music . . . it’s not all classical all the time! I’m a huge fan of 80’s and 90’s hip-hop and rap – I grew up with that music and it was a seminal period for that genre.
I don’t always immediately share it, but I love when people find out that I was once an opera singer – that discovery always gets followed-up with great questions about my experiences.
Tell me about someone who had an impact/influence on who you are today?
Professionally . . . Robert Page. I was introduced to him at a very young age when I was in the Children’s Festival Chorus (now Pittsburgh Youth Choir). I sang with the Pittsburgh Symphony, and was fortunate to stay under his tutelage all the way through Carnegie Mellon and beyond. He was very tough, but it was always about the music, never personal. It was a privilege to have gotten to work with him as a student and professionally, and to get to know him personally.
I also have to mention my parents. I was incredibly fortunate to have grown up in a house where being involved with music and the arts was encouraged. So, when I was considering a career in the arts (first as a performer), it felt completely normal and they’re support never wavered.
What do you do when you aren’t working?
I love to cook and share a meal with friends. After a long day, I might go home and prepare a meal from scratch, even if it means eating late . . . there’s a creative quality to it, and it’s a way for me to decompress and relax.
What have you found most challenging/rewarding?
Over the course of an opera season, Pittsburgh Opera produces far more offerings than other companies our size. While that presents its challenges, the backbone of Pittsburgh Opera is its incredibly talented staff that is capable of making it all happen. The reward for the hard work necessary to produce such varied repertoire, concerts and events is being able to share it with our passionate audiences!
What do you wish other people knew about the Pittsburgh Opera?
2 things . . .
The “word on the street” about Pittsburgh Opera within the industry is very positive. It doesn’t surprise me, but it’s always nice to get that feedback from colleagues and peers, and always good for our own donors, patrons and audience members to hear it as well. Between the varied and progressive programming, our outstanding Resident Artist program, and high musical values, we can all be very proud of the reputation of this company.
Also, no matter what your musical tastes are, there is always something for everyone during the season . . . if you’ve never been to the opera, and don’t know where to start, consider this an open invitation to call or email me, I’ll be happy to talk you through it!
What would you tell someone who is thinking about donating, volunteering or subscribing to the Pittsburgh Opera?
Do it! Whether donating time or money, or supporting Pittsburgh Opera by buying tickets, there are so many ways to get involved, and it really does take a village.
June 2018: Pittsburgh Opera Resident Artist Andy Berry
Pittsburgh Opera, Meet the Team: Meet Andy Berry!
How old were you when you (or your family) understood the power of your voice?
It certainly became clear in high school that I had a passion for making music and demonstrating the raw building blocks of a pretty solid bass voice. Growing up, it was always clear in my household that I was going to pursue a "professional" path, like lawyer-ing or doctor-ing. I went on to study Psychology/Neuroscience while in college at Yale, and while there I sang in choirs and such with grad students studying at the School of Music. I realized that the only thing separating us was training. And especially upon singing my first young artist program with Opera on the Avalon the summer after my junior year, I knew that I was not very far behind the kids who had decided to go to conservatory when they were 18. I'd say it was singing with my college a cappella groups, the Spizzwinks and the Whiffenpoofs of Yale, that really showed me the power of the human voice in general - the way that in our increasingly chaotic and technology-driven world, the intensely human act of singing can still cut through and really move audiences. That makes singing a worthy pursuit to me.
I don’t think many people can comprehend the intensity of your operatic training over the years – not just from a vocal standpoint, but the linguistics and musicianship. Could you give us an overview of your experience?
The bulk of my training took place over my two years at the Yale Opera with Doris and Richard Cross at Yale Opera. The program involved two voice lessons each week, lots of individual coaching, thorough semesters on Russian, German, Italian, and French diction, thoughtful courses on music history, a course on music theory and how to listen to music (for which I eventually served as teaching assistant), various other courses on vocal repertoire, acting, movement, etc. I'd say a great deal of the most valuable training in opera happens by doing - in rehearsal for shows, watching others work, etc. so it's crucial that any good training program is heavy in performances. There were fourteen of us at Yale putting on three operas each year as well as each giving these wonderful (but long) recitals, all with unbelievably strict memorization timelines. Perhaps the strictness about memorization/learning/preparation was some of the most valuable training I received in preparation for a career in opera!
That's not to discount the several courses in music theory and opera I took in undergrad, nor the voice lessons I took throughout high school and college that also involved a lot of language training. I do credit my time in college a cappella for my comfort on stage - we performed over a hundred concerts each year! And for sure every summer program I've done - with the Central City Opera or the Santa Fe Opera - has also involved a great deal of language training, movement work, etc.
What might someone be surprised to know about you?
I think I'm an introvert! An "extroverted introvert." I enjoy parties, Diamond Horseshoe Ball or Maecenas type of events, but my alone time at home is CRUCIAL to my morale and energy levels. It's also still just simple nerves - stage fright - that seems to be most holding me back from my vocal goals.
Tell me about someone who had an impact/influence on who you are today?
I'll say my mother. In many ways, I have lived my entire life hoping to make her proud! She instilled a tireless work ethic in me — a steady faith in the idea that I am good enough and that, if I work hard, the universe will eventually recognize that in me. She taught me a lot about how to be a leader, an advocate, and about the value of a promise. She passed away rather surprisingly last summer, and I am very grateful for the influence she's had and will continue to have on me.
Who have been some of your musical influences outside of Opera?
Recently I have been really, really admiring Janelle Monae. Her music can be complex and even experimental while staying accessible. Her lyrics push on certain limits or perceptions but are never vulgar. She is authentic to her values and artistry always. I love the soundscapes and the melancholy of 60s singer-songwriters like Joni Mitchell or Laura Nyro. I also really like the close harmony of Crosby, Stills, Nash, & sometimes Young, and the kind of passion or tension you can hear in their music. I also must shout-out to Japanese enka singing - a kind of pop singing that hearkens back to traditional Japanese singing with some very stylized vibrato usage. I highly recommend Saori Yuki's album with the American combo Pink Martini called 1969, starting with the number "Yuuzuki," for music lovers of all kinds.
Give us a glimpse into the not so glamorous side of living the life of a resident artist?
I'm gonna go with the New York City trips! Every important audition or competition in opera happens in New York City, and it's weirdly not that easy to get there from Pitt. From Pittsburgh International Airport, flights to California are cheaper than flights to NYC! And that drive is a pain. So yeah, lots of weekends spent doing that 7-hour drive (plus whatever joys Manhattan driving will bring) each way just to grab a voice lesson, sing an audition, and then hustle back for a rehearsal. In truth, though, the opera bent over backwards to get us out there and auditioning, so even if sometimes the trips had to be hurried, it really was a blessing that they were trusting us to pull off these tight travel times that sometimes butted right up against important commitments.
What has surprised you most about working with the Pittsburgh Opera?
I'd say the size of the operation. I knew the Pittsburgh Opera was a major regional company - I knew that it was a big deal and had a big budget, etc. But that is a full office up there! (And a gorgeous office space - I will really miss it.) There are so many humans working on everything - audience development, marketing, human resources, artistic administration, scheduling, the list goes on and on. Like, duh, an opera company needs an HR department, but I don't think school REALLY prepares a person to understand that these companies are really COMPANIES that require incredible resources and personnel to pull off a full season at any kind of real scale.
What is your dream role?
My easy answer to this question is Sarastro from Die Zauberflöte (The Magic Flute). But really, after an incredible experience working on a world premiere with the Santa Fe Opera last summer, and as I begin to understand the uniqueness of my voice and its low register, my DREAM role is probably not written yet! My dream role would be written for me, by a composer who knew my voice, and it would be an emotionally complicated character in an accessible but challenging new opera. (Accessible and challenging both in terms of music and subject matter.) Hee-hee. Is that too much to ask!?
What are 3 things you would tell your 15-year-old self if you could?
1) There IS time to smell the roses; to be mindful and patient and slow. Taking the time to learn about yourself and what you want will be more worth it to you in ten years than sticking to some timeline set by society or whomever else.
2) Your family will support you in all your decisions, no matter what, because they love you, whether about your career or about your personal life.
3) Turns out you love being active and using your body! And you'll have a lot of advantages if you start reckoning with that self-esteem (and weight) stuff now instead of late in college.
March 2018: Pittsburgh Opera Resident Artist Shannon Jennings
Pittsburgh Opera, Meet the Team: Meet Shannon Jennings!
Shannon’s passion for music was not by accident. Music is in her blood, and her family’s musical experiences go back at least three generations! You might even call it, the “family business.” Shannon’s mother was the church music director and her father was both a trombone player and a band director. Her grandfather played the trumpet and was the high school band director, while her grandmother taught violin. Shannon was immersed in music since a small child, playing the trumpet for nine years and singing in her mom’s choir; but she always had a yearning for “dramatic” singing.
These days, she is making that dream come true with the Pittsburgh Opera, and we are lucky enough to experience her gifts and talents thanks to the resident artist program. In her spare time, she and her husband (who she met while singing in Die Zauberflöte in Germany), are feeding their other passion, renovating a 1945 house in Chesapeake, Virginia. Together they have been doing the work themselves, with the help of family, since 2013. It has been a major labor of love (and blood, sweat and tears). She told me that while most people show off pictures of their children or their pets, she is showing off pictures of her home renovations!
It was a true pleasure to interview Shannon and learn more about this rising star. Read on, and Enjoy!
Tell me a little about yourself?
I’m from Orlando, FL and I grew up in a family of musicians; specifically instrumental music educators. I went to Florida State University for a B.M. in Vocal Performance. After college, I moved to the Virginia Beach area with my husband. I spent the next 5 years there, singing with every opera company and arts organization I could, while taking lessons with mezzo-soprano Elizabeth Bishop in DC - a very unique experience compared to most young opera artists’ training post-undergrad.
I started out singing in the Virginia Opera chorus in 2011, and ended up making my debut with them in 2013 as Guenevere in Camelot. Performing my duty as a cover artist for a sold-out matinee. The next day, Virginia Opera offered me a contract as an Emerging Artist for the 2013-14 season, and in their 2014-15 season I sang Josephine in HMS Pinafore. In that time, I was also a two-time Studio Artist with Wolf Trap Opera, a Young Artist with Ash Lawn Opera, won a prize in the Annapolis Opera Vocal Competition, sang leads with Florida Opera Theatre (now Opera Orlando), DC Public Opera and Annapolis Opera, and sang as a soloist with the Richmond Symphony and the Virginia Symphony. It was in 2015, that I auditioned for the Merola Opera Program in San Francisco and Pittsburgh Opera, and was thrilled to land contracts. I am thrilled to be heading to New Mexico this summer to sing as an Apprentice Artist with Santa Fe Opera.
How old were you when you or your family understood the power of your voice?
My parents always knew I had a strong voice, and were very encouraging of me as a musician in all forms. I became accustomed to being told I was overpowering the rest of the group, whether in a musical or in choir. My parents also figured out I had perfect pitch when I was a little kid. This became a parlor trick, and more practically, I became their pitch pipe. My mom would be on her way to a rehearsal, and while she was warming up she would call me and say, “Shannon, give me an F.” I’d sing it. “Thanks, love you, bye!”
My parents knew I had the natural and developed skillsets to become a music teacher, but I think it was when I started winning state high school Thespian competitions that they saw I had the potential to perform professionally. Once I started taking voice lessons and was introduced to singing opera, I knew it was the right path for me. My parents encouraged me in every task. My dad and I had frequent talks about the kind of challenges a career of performing would present, but we agreed that in the end I had to go for it. I’m so glad I did, and I’m still going for it.
I don’t think many people can comprehend the intensity of your operatic training over the years – not just from a vocal standpoint, but the linguistics and musicianship. Could you give us an overview of your personal experience?
Most opera singers from the U.S. start out by playing an instrument, singing in choir, or performing musical theatre, because opera is not native to American culture, it’s borrowed from Europe. Most of us start our operatic training in our late teens. Mine started in 11th grade when a band parent heard me sing and approached me about voice lessons. She studied voice in college alongside Dawn Upshaw, and thought my voice showed promise for opera. I took lessons with her weekly, and she helped me build a foundation for a technique to sing over an orchestra.
Our bodies are our instruments, and our bodies are changing every year. Naturally, this affects the singing. Certain aspects remain consistent over time, but even then, our perspective changes. To add to this complex study, we must produce this sound through the expression of text in various languages. We not only study the languages for comprehension, but we learn the expressive tools unique to each language. German is very similar to English in that we tend to use our consonants to express emotion. However, this is not the same for Italian, where the consonant lengths are very specific; lengthen the wrong one, you can change the meaning of the word. These expressive tools also go hand-in-hand with musical style. The only way to learn this is through working on the music with knowledgeable artists, because most of us didn’t grow up listening to this music and innately knowing the traditions. We can make lists of “rules” to memorize, but we must really experience the music before the “rules” become instinctual.
Give us a glimpse into the not so glamourous side of living the life of a resident artist?
Last season, I sang the Slave in Salome, which only has about 5 seconds of music. I offered my services to the director, should he need anyone else on stage as a super, or non-singing part. I was then charged with handling Patricia Racette’s quick-change on stage after her dance of the seven veils, which ended with her nude. I had to put her undergarments on her, tie her robe, and make sure her wig didn’t get caught in the midst. My hat goes off to every costumer that coordinates/negotiates quick-changes, because that’s intense work!
What is your dream role?
This will likely change over time, but the standard in my mind has always been Madama Butterfly. Along the way, people have had widely varying opinions about my voice, my capabilities, and what I should or shouldn't sing. I wondered whether I would ever get to sing this music, and often kept from voicing that I wanted to sing it, for fear of being berated. Silly Shannon. This coming summer, I have the honor of covering the role at Santa Fe Opera. I about fell over when I got the offer. I can't fully express how excited I am about it.
What would you tell your 15-year-old self if you could?
15-year-old Shannon, my dear, don’t fret so much over the future that you forget to be in the present. Don’t bother with seeking perfection… it doesn’t exist. Instead, seek excellence! And finally, you are enough. You are deserving of love, respect, and compassion because you exist! You are the only you, and that is your super-power. Way to go, 15-year-old Shannon. Follow your own advice now, because you are innately wise, if you’re willing to listen and trust. Thank you for letting me share with you!
October 2017: Martina Caruso, Individual Giving and Data Associate
Pittsburgh Opera, Meet the Team: Meet Martina Caruso!
Martina studied vocal performance at Carnegie Mellon University and loves all things music and theater! In addition to working for the opera, Martina sings with the Mendelssohn Choir of Pittsburgh, her church, First Lutheran Church of downtown and at special events and weddings all around the city. When she is not singing or spending time with friends and family, Martina is passionate about a local organization that she used to work for, Beverly’s Birthdays. She continues to volunteer her time throwing birthday parties for children experiencing homelessness in the City of Pittsburgh. We are very lucky to have Martina join the Pittsburgh Opera family. It was a true pleasure to interview Martina and get to know more about this rising star. Read on, and Enjoy!
What might someone be surprised to know about you?
In addition to being a singer/arts administrator, I am a Spin instructor and teach indoor cycling classes 3-4 times a week.
Tell me about someone who had an impact or influence on who you are today?
I know it’s cliché, but my parents are truly the people that have inspired me most in my life. They have always supported my love for music and have pushed me to follow the path that I want to take. As private business owners and entrepreneurs, they have also showed me that you can make anything possible if you have the drive and passion to make it so.
How did you first get involved with the Pittsburgh Opera?
I saw my first Pittsburgh Opera production, Carmen, when I was in High School. I grew up in the South Hills of Pittsburgh and have always felt connected with our cultural district. My decision to stay in Pittsburgh for college helped me to continue this love for the Pittsburgh Opera. It’s a great organization! Even after moving to Cooperstown, NY to work for the Glimmerglass Festival (which is also an amazing organization in my opinion), I felt the need to come back to my own city and support the company that first made me fall in love with this art form.
What have you found most challenging/rewarding?
The most challenging part thus far has just been taking in all of the different responsibilities that fall under working within this development department. I went from working for a small social service based non-profit to a much larger arts organization. What I have found rewarding however, is how open everyone in this organization is to helping each other grow and how passionate everyone is about their job. There is nothing more rewarding than that in my eyes!
November 2017: Christian Cox, Director of Marketing and Communication
Pittsburgh Opera, Meet the Team: Meet Christian Cox!
That’s right, Chris is apparently no stranger to sailing. I guess you could say adventure is in his DNA. He spent a summer in Nome, Alaska as a sled dog handler and another summer leading bike trips around Cape Cod, Martha’s Vineyard and Nantucket. After college, he was living the life of a ski bum in Lake Tahoe. Now settled in Pittsburgh with his wife and three beautiful daughters, Natalie (13) and fraternal twins Sabrina and Adeline (10), he is fueling his passion these days as the Director of Marketing and Communication. Wonder what brought him to the Pittsburgh Opera? Read on… and Enjoy!
Tell me a little about yourself.
I consider myself to be a hard worker. I strive to be accountable and to follow through on my commitments. Behind the scenes, I have an odd sense of humor. Empathetic, and generally cheerful and light-hearted. I can quote ten seasons’ worth of The Simpsons episodes.
Tell me about someone who had an impact/influence on who you are today?
No one has had a bigger impact on who I am today than my parents. They’ve been my staunchest supporters through thick and thin, and taught me what unconditional love means.
What’s life like outside the Pittsburgh Opera?
Besides binge-watching Game of Thrones with my wife, much of my free time involves activities for and with my three daughters. Sometimes it’s coaching their softball teams, other times it’s a quiet game of Connect Four before bedtime. My wife and I try to walk a fine line of providing our kids lots of opportunities without over-scheduling them. I’m also a big Pirates/Steelers/Penguins fan, and have been known to enjoy the occasional craft beer.
How did you first become involved with the Pittsburgh Opera?
I met Christopher for coffee at the now-defunct Marty’s Market, where he told me about The Summer King. He was looking for someone who liked baseball and wasn’t an opera ‘insider’ to help promote it. Fortuitously, I was wearing a Neil Walker Pirates jersey at the time, and was able to convince him I was the right person for the job.
What was your first impression?
I was impressed with the company’s ambition and Christopher’s vision. I didn’t know a whole lot about opera, and was intrigued at how Pittsburgh Opera was trying to balance the “classics” with new works.
What has surprised you most about working with the Pittsburgh Opera?
The fact ticket sales don’t cover the costs of our productions, and because of that how much my livelihood depends on the generosity of our donors. As an ‘outsider’, that was very eye-opening.
What would you tell someone who is thinking about donating, volunteering or subscribing to the Pittsburgh Opera?
We’re a great organization! We put our hearts and souls into bringing this amazing art form to the community. We’d love you to be a part of it with us.