[vc_row gap=”35″ iron_row_type=”in_container” iron_remove_padding_medium=”” iron_remove_padding_small=”” iron_overlay_pattern=”” iron_parallax=”” iron_bg_video=”” css=”.vc_custom_1497197944087{padding-top: 40px !important;padding-right: 10px !important;}”][vc_column width=”2\/3″ css=”.vc_custom_1497197998821{padding-right: 50px !important;}”][vc_column_text]<\/p>\n
The Metropolitan Opera Guild, New York, NY, USA <\/p>\n The Metropolitan Opera Guild, New York, NY, USA <\/p>\n The Metropolitan Opera Guild, New York, NY, USA<\/p>\n <\/p>\n The Metropolitan Opera Guild, New York, NY, USA<\/p>\n <\/p>\n The Metropolitan Opera Guild, New York, NY, USA <\/p>\n The Metropolitan Opera Guild, New York, NY, USA<\/p>\n <\/p>\n The Metropolitan Opera Guild, New York, NY, USA<\/p>\n <\/p>\n The Metropolitan Opera Guild, New York, NY, USA (June 16, 2015)<\/p>\n <\/p>\n The Metropolitan Opera Guild, New York, NY, USA<\/p>\n <\/p>\n The Metropolitan Opera Guild, New York, NY, USA<\/p>\n [\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_widget_sidebar sidebar_id=”otw-sidebar-1″][\/vc_column][vc_column][\/vc_column][vc_column][\/vc_column][\/vc_row]<\/p>\n ","protected":false},"excerpt":{"rendered":" [vc_row gap=”35″ iron_row_type=”in_container” iron_remove_padding_medium=”” iron_remove_padding_small=”” iron_overlay_pattern=”” iron_parallax=”” iron_bg_video=”” css=”.vc_custom_1497197944087{padding-top: 40px !important;padding-right: 10px !important;}”][vc_column width=”2\/3″ css=”.vc_custom_1497197998821{padding-right: 50px !important;}”][vc_column_text] Touchstones of 20th-Century Opera The Metropolitan Opera Guild, New York, NY, USA (For course promo video, click here) Part 1: Operatic Innovations and Intimate Muses – Jan\u00e1\u010dek\u2019s K\u00c1T’A KABANOV\u00c1 (October 15th, 2019) Part 2:\u00a0Finding the Lyrical and Dramatic Power of Atonal Opera \u2013 Berg\u2019s WOZZECK (October 22nd, 2019) Part 3:\u00a0Stylistic Fusions in Mid-1930s America \u2013 the Gershwins\u2019 PORGY AND BESS (October 29th, 2019) […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/nbwrites.com\/index.php?rest_route=\/wp\/v2\/pages\/1047"}],"collection":[{"href":"https:\/\/nbwrites.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/nbwrites.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/nbwrites.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/nbwrites.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1047"}],"version-history":[{"count":36,"href":"https:\/\/nbwrites.com\/index.php?rest_route=\/wp\/v2\/pages\/1047\/revisions"}],"predecessor-version":[{"id":1770,"href":"https:\/\/nbwrites.com\/index.php?rest_route=\/wp\/v2\/pages\/1047\/revisions\/1770"}],"wp:attachment":[{"href":"https:\/\/nbwrites.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1047"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n(For course promo video, click here<\/a>)<\/p>\n\n
<\/h2>\n
Study Day: Opera in the New Millennium (2018)<\/strong><\/h2>\n
\nCo-taught with Elspeth Davis<\/em><\/p>\n\n
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<\/h2>\n
Operatic Libretti and Librettists\u00a0<\/strong><\/h2>\n
\n
Making Met History<\/strong><\/h2>\n
\n
Study Day: Opera in the New Millennium (2017)<\/strong><\/h2>\n
\nCo-taught with Elspeth Davis<\/em><\/p>\n\n
Comparing and Contrasting Great Interpretations
\n<\/strong><\/h2>\n\n
Points of Inspiration: Where Opera and Art History Meet
\n<\/strong><\/h2>\n\n
Unknown Masterworks \u2013 Zeitoper:
\nHindemith, Krenek, & Weill in the Weimar Era
\n<\/b><\/h2>\nThe Musical Language of Magic and Enchantment<\/strong><\/h2>\n
\n
Opera 101
\n<\/strong><\/h2>\n\n