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THIS TIME, ON COLORES!

THE FINAL EPISODE OF OUR FROM PAGE-TO-STAGE SERIES CELEBRATES A RETURN TO THE STAGE WITH THE OPENING NIGHT OF THE SANTA FE OPERA'S 17TH WORLD PREMIERE, THE LORD OF CRIES.

REHEARSALS, TAILGATING, AND PERFORMACE FOOTAGE TAKE CENTER STAGE ALONG WITH COMPOSER JOHN CORIGLIANO, LIBRETTIST MARK ADAMO AND MAESTRO JOHANNES DEBUS WHO SHARE HOW THEY WORK TO BRING THIS NEW OPERA TO LIFE.

FACED WITH THE COVID-19 PANDEMIC, MUSICIANS STRUGGLE TO RECONNECT WITH THEIR "CLASSICAL TAHOE" AUDIENCE.

JEWELER MICAH BLANK IS INSPIRED TO REPURPOSE STONES AND METAL.

IT'S ALL AHEAD ON COLORES!

THE LORD OF CRIES OPENING NIGHT!

>>>JOHANNES DEBUS: IT'S A VERY VERY GOOD QUESTION.

WHEN DO I KNOW?

UM...

WHEN DO I KNOW THAT IT'S WORKING?

UMM...

I TH- I THINK IT'S THE MOMENT WHEN I FEEL OH, IT'S GOING EFFORTLESSLY.

>>>ANTHONY ROTH COSTANZO (DIONYSUS): [SINGING] LISTEN!

LISTEN TO ME, O MY SISTERS!

>>>JOHANNES DEBUS: FOR ME IT'S ALWAYS AFTER REHEARSALS A BIT LIKE A STATE OF SHOCK.

I'M STILL IN THIS PROCESS OF THINKING OK, WHAT HAS TO HAPPEN NOW IN THE NEXT REHEARSAL AND SO ON AND SO FORTH.

>>>JOHN CORIGLIANO: ONE OF THE THINGS THAT HAPPENED TODAY IS WE HAD ABSOLUTELY NEVER HEARD THE CHORUS, THE SOLOIST, AND THE ORCHESTRA TOGETHER AT THE SAME TIME.

>>>MARK ADAMO: RIGHT.

>>>JOHN CORIGLIANO: NEVER.

IT'S COMING ALIVE RIGHT NOW.

>>>DAVID PORTILLO (JONATHAN HARKER): [SINGING] AHHHHH!

LUCY!

>>>JOHANNES DEBUS: IT'S SOMETHING INCREDIBLY SPECIAL I THINK FOR ANY MUSICIAN TO PERFORM THE MUSIC OF A LIVING COMPOSER AND I MEAN HERE IT'S NOT JUST ONE LIVING COMPOSER, IT'S JOHN CORIGLIANO.

PROBABLY ONE OF THE MOST IMPORTANT COMPOSERS OF OUR TIME.

DURING THE BREAK TODAY I JUST CAME TOGETHER WITH JOHN, AND HE SHOWED ME SORT OF HIS LIST OF THINGS YOU KNOW THAT UHH WE SHOULD TRY TO FURTHER WORK ON.

>>>JOHN CORIGLIANO: HEARING THE THE SOLOIST AND THEN SUDDENLY THE CHORUS COMES IN AND THE ORCHESTRAS BEHIND ALL THAT, AND SUDDENLY THE SOUNDS WE IMAGED ARE COMING RIGHT OUT AND I THINK THAT'S THAT'S GOTTA BE ONE OF THE GREAT EXPERIENCES FOR ANY COMPOSER, CERTAINLY FOR ME IT IS AND MARK'S INCREDIBLE LIBRETTO UH WHICH INSPIRED THIS.

>>>MARK ADAMO: WELL, I THINK THE THING ACTUALLY THAT IS GREAT ABOUT THE- YOU KNOW AND YOU AS AS WRITERS USING THE TERM THAT YOU KNOW MOST GENERALLY IS THAT, YOU WANT TO MAKE SURE THAT EVEN UM THAT EVERY ROLE IS A ROLE AND EVERY ROLE HAS A KIND OF ARC IN IT AND YOU CAN YOU KNOW MAKE THOSE DECISIONS ON A PAGE BUT UNTIL YOU SEE YOU KNOW THE BODIES IN SPACE MAKING THEIR PERFORMANCE HAPPEN, YOU DON'T KNOW WHAT'S POSSIBLE.

BUT IF YOU DO WHAT WE DO, WHICH IS TO TRY TO GET AS MUCH OF HUMAN EXPERIENCE POSSIBLE AND LEGIBLE IN WORDS AND IN A BLUE PRINT OF SOUND, TO SEE IT ACTUALLY HAPPENING IN WHAT SEEMS TO BE THREE- OR FOUR-DIMENSIONS.

WORD, ACTING, MOVEMENT, LIGHTS, ORCHESTRA, TAMBER EVERY WAY YOU COULD EXPERIENCE SOMETHING.

YOU FEEL IN A CERTAIN WAY LIKE YOU'VE CREATED A WORLD.

WE'RE PLAYING GOD!

>>>JOHN CORIGLIANO: WE'RE PLAYING GOD!

[LAUGHING] >>>JOHANNES DEBUS: THERE'S ONE ELEMENT THAT FOR THE CONDUCTOR THAT'S A BIT LIKE UM A POLICE COP ON THE STREET WHO REGULATES THE TRAFFIC.

WHEN THAT PART OF MY WORK SO TO SPEAK IS SECONDARY AND IT'S ALL ABOUT THE MUSICAL EXPRESSION.

THEN I KNOW IT'S IT'S GOING WELL.

>>>MARK ADAMO: BECAUSE SOMETHING LIKE THIS HAS GONE AS WELL AS IT HAS, IT MAKES YOU EAGER TO SAY, "NOW I WANT TO SEE THE REST OF IT, I WANT TO SEE IT TOMORROW, I WANT TO SEE IT RIGHT NOW!"

>>>ANTHONY ROTH COSTANZO (DIONYSUS): [SINGING] BEFORE YOU PAINTED NOAH'S FLOOD.

THE CHERUBIM, THE VIRGIN IN HER CRÈCHE- >>>JOHANNES DEBUS: SO ON, ON OPENING NIGHT WHEN THE WHEN THE CURTAIN GOES UP, IT'S THE MOST WONDERFUL THING THAT- THAT YOU CAN IMAGINE, IT'S A BIT LIKE FLYING!

[THE SOUND OF THUNDER & COYOTE HOWLS] >>>OPERA TAILGATERS: I DON'T KNOW HOW YOU COULD TAILGATE WITHOUT A CHANDELIER.

[LAUGHING] >>>OPERA TAILGATERS: YEAH, WE CAME ALL THE WAY FROM FORT COLLINS, COLORADO TO BE HERE.

>>>OPERA TAILGATERS: [LAUGHS] WELL THE ATMOSPHERE IS STUNNING.

WE'VE BEEN WATCHING YOU KNOW THE STORM, KIND OF- HOPEFULLY IT'S PASSING BY AND IT'S NOT LINGERING UH I'VE BEEN HERE BEFORE WITH REALLY BEAUTIFUL RAINBOWS UMM JUST; PICTURES DON'T DO IT JUSTICE.

>>OPERA TAILGATERS: WE'VE BEEN TAILGAILING FOR THIRTY YEARS!

[LAUGHS] >>>OPERA TAILGATERS: TO THE OPERA!

TO THE OPERA!

>>>OPERA TAILGATERS: [CLINK] CHEERS!

>>>OPERA TAILGATERS: [CLINK] TOI TOI TOI!

>>>OPERA TAILGATERS: TO BEING TOGETHER WITH LIVE PERFORMANCES AGAIN!

YEAH!

YAY!

LIVE PERFORMANCE!

EIGHTEEN MONTHS!

>>>JOHANNES DEBUS: OPENING NIGHT THERE'S TH- THERE'S EXPECTATION IN THE ROOM THEN RIGHT BEFORE THE PERFORMANCE YOU STAND THERE AT THE, THE ENTRANCE DOOR TO THE PIT AND UH MINUTES TURN INTO INTO HOURS.

WAITING IS UMMM EXCRUCIATING.

YOU WANNA GO INTO THE ARENA YOU KNOW, YOU WANNA T- YOU WANNA SEE THE WILD BEASTS OUT THERE [LAUGHS] UH YOU WANNA, YOU WANNA BE THE GLADIATOR SO TO SPEAK.

THEN YOU GET THE SIGNAL AS TO GO.

YOU MAKE IT TO THE PODIUM, YOU GREET THE MUSICIANS, TAKE YOUR BOW AND THEN YOU JUST FOCUS ON THE MOMENT.

YOU TRY TO SEE AND TO FEEL THE BEGINNING AND WHERE THIS LONG JOURNEY WILL TAKE YOU.

YOU TRY TO BRING THAT TOGETHER SOMEHOW.

>>>ANTHONY ROTH COSTANZO (DIONYSUS): [SINGING] I, DIONYSUS, SON OF ZEUS, I CAME DOWN TO THEBES.

I OFFERED THAT CITY THREE CHANCES TO ACKNOWLEDGE ME.

>>>JOHANNES DEBUS: THERE'S ONE PART OF MY BRAIN THAT IS COMPLETELY DEDICATED TO WHAT'S GOING ON, ON STAGE.

>>>DAVID PORTILLO (JONATHAN HARKER): [SINGING] HOW?

HOW, THE BLUE FLAMES ON THE ROCKY PLAIN?

HOW, >>>JOHANNES DEBUS: EVERY PERFORMANCE IS SLIGHTLY DIFFERENT.

>>>DAVID PORTILLO (JONATHAN HARKER): [SINGING] NO FACE IN THE SILVER MIRROR?

>>>JOHANNES DEBUS: AND WE HAVE TO UNDERSTAND THE SINGERS AREN'T JUST SINGING, THEY'RE ALSO ACTING.

THERE IS AN ELEMENT OF WHAT I WOULD DESCRIBE RECITATIVO WHICH MEANS YOU HAVE A CHORD IN THE ORCHESTRA THAT IS HOLD AND THE SINGERS ON TOP OF THIS CHORD WILL PROVIDE SOME TEXT AND THERE'S A CERTAIN ELEMENT OF FREEDOM IN IT.

>>>KEVIN BURDETTE (CORRESPONDENT): FOR THE WESTMINSTER GAZETTE, 3 AUGUST.

>>>JOHANNES DEBUS: AND WHEN THOSE, ALL THOSE ELEMENTS AND I WOULD EVEN INCLUDE THE STAGING.

>>>STAGE PERFORMERS: [SINGING] I WOULD NOT CRAVE THE KISS.

[KISS SOUND] >>>JOHANNES DEBUS: IF THEY ALL COME TOGETHER AND SORT OF CROSS FEED EACH OTHER, THEN YOU GET THIS IDEA OF WHAT THE GERMANS WOULD CALL GESAMTKUNSTWERK >>>JARRETT OTT (JOHN SEWARD): [SINGING] -AND WHAT HE WANTS!

>>>JOHANNES DEBUS: SO, THE WHOLE THING IS BIGGER THAN THE SUM OF THE PARTS.

>>>STAGE PERFORMERS: [SINGING] ASK FOR WHAT YOU WANT: ASK IT IN.

>>>JOHANNES DEBUS: WHAT I LOVE ABOUT "LORD OF CRIES" IS THE IMMEDIACY OF EMOTIONAL EXPRESSION.

SO, YOU HAVE A COMPELLING STORY ABOUT SORT OF OUR INNER SELVES, HOW THOSE INNER SELVES MIGHT COLLIDE WITH THE STRUCTURES WE GIVE OURSELVES TO LIVE TOGETHER AND HOW THOSE STRUCTURES MAYBE BECOME HINDRANCES.

>>>JARRETT OTT (JOHN SEWARD): [SINGING] MAKE ME ECSTASY AND RUIN: MAKE ME LORD OF CRIES!

>>>JOHANNES DEBUS: AND TO SORT OF HAVE THE THE COURAGE TO FIND OUR OWN STORIES AND HOW THAT ALL COMES TOGETHER FROM AN ORCHESTRA IN FULL FORCE WITH MASSIVE BLOCKS OF CHORDS THAT THAT WILL FILL THE SPACE, TAKE THE ROOF OFF IF TH- IF THERE'S A ROOF UM TO MOMENTS OF INCREDIBLE INTIMACY AND AND AND ALMOST SILENCE AND NOTHINGNESS AND WHERE MAYBE JUST ONE SINGLE VOICE IS LEFT.

>>>JARRETT OTT (JOHN SEWARD): [SINGING] HE HAS NO PLACE HERE!

>>>JOHANNES DEBUS: AND THIS IS IN FOR ME WHAT OPERA IS ABOUT.

IT'S DRAMA THROUGH MUSIC.

>>>ANTHONY ROTH COSTANZO (DIONYSUS): [SINGING] O >>>JOHANNES DEBUS: WHEN NEW PIECES ARE CREATED, WE HAVE THE CHANCE TO LOOK INTO THE MOST ACTUAL ISSUES.

INTO THE THINGS THAT MIGHT RELATE TO US AS LIVING CREATURES OF THE TWENTY-FIRST CENTURY.

THAT IT IS IMPORTANT FOR A PIECE OF ART NO MATTER WHEN CREATED THAT THERE'S A CERTAIN ELEMENT OF UNIVERSALITY IN IT, A CERTAIN ELEMENT THAT STANDS THE TEST OF TIME.

>>>SUSANNA PHILLIPS (LUCY HARKER): [SINGING] MY DREAM, AGAIN!

MY PRINCE OF NIGHT!

>>>ANTHONY ROTH COSTANZO (DIONYSUS): [SINGING] LUCY, WHOSE VERY NAME MEANS LIGHT!

>>>JOHANNES DEBUS: ART HAS TO SOMEHOW PUT A WIDER LENS ON THE QUESTIONS, THE ISSUES WE MIGHT GO THROUGH IN OUR DAY IN AGE.

>>>ANTHONY ROTH COSTANZO (DIONYSUS) & SUSANNA PHILLIPS (LUCY HARKER): [SINGING] THIS IS THE THIRD TIME YOU/I HAVE COME TO ME/YOU...

ALWAYS, THOUGH, BY MOONLIGHT: AS IF BY LAW.

>>>ANTHONY ROTH COSTANZO (DIONYSUS): [SINGING] I PREFER THE SHADOW, THE SHADE, FOR AWE.

>>>JOHANNES DEBUS: AND ART MIGHT NOT PROVIDE YOU WITH THE FINAL ANSWERS TO THAT.

I DON'T THINK THAT'S THE ROLE OF OF THE ARTS, BUT IT MIGHT HELP YOU TO EITHER FIND THE NEXT QUESTIONS TO THE QUESTIONS YOU ALREADY HAVE OR TO COME TO CERTAIN CONCLUSIONS.

>>>ANTHONY ROTH COSTANZO (DIONYSUS): [SINGING] THEN WHAT OF LUCY, TONIGHT?

LUCY, WHOSE VERY NAME MEANS LIGHT?

>>>SUSANNA PHILLIPS (LUCY HARKER): [SINGING] STILL IT IS RIGHT.

I CHOOSE WHAT'S RIGHT.

AND TO DO RIGHT IS TO BE GOOD, AND TO BE GOOD IS TO KNOW JOY.

AND SO I SAY: TONIGHT, I BEAM WITH JOY!

>>>JOHANNES DEBUS: I-I PERSONALLY THINK THAT IT IS ESSENTIAL FOR, FOR OUR OWN EVOLUTION, THAT THERE IS NEW CREATION, THAT THERE ARE NEW IMPULSES THAT THAT KEEP US THINKING AND THAT KEEP US COMING TOGETHER TO EXPERIENCE THE MOST PRESSING AND THE MOST FORWARD-LOOKING THINGS TOGETHER.

>>>CHORUS: [SINGING] DENY HIM NOT - DENY HIM NOT - DENY HIM NOT - DENY HIM NOT - CHALLENGING THE PANDEMIC.

CLASSICAL TAHOE STARTED IN 2012, WHERE THREE WEEK CLASSICAL MUSIC FESTIVAL TAKES PLACE ON THE CAMPUS OF SIERRA NEVADA UNIVERSITY.

WHAT'S SO GREAT ABOUT OUR ORCHESTRA IS HOW EXTRAORDINARY EACH OF THEM ARE AS MUSICIANS.

THEY'RE ALL INCREDIBLY GENUINE AND TAKE CARE OF EACH OTHER AND ARE FAMILY, AND EVERYBODY ALWAYS FEELS LIKE THAT.

I MEAN, THIS SUMMER WASN'T UNIQUE TO THAT SPIRIT.

WHAT WAS UNIQUE TO THE SPIRIT THIS YEAR WAS IN ALL OF US, PUTTING TOGETHER OUR FEELINGS OF A PANDEMIC, AND THE ROLE OF ART IN A WORLD THAT'S UPSIDE DOWN AND AN ECONOMY THAT HAS HIT THIS INDUSTRY HARDER, I THINK, THAN ANY INDUSTRY.

AND ALL OF THOSE PIECES ARE BROKEN AND OFF-KILTER.

NOBODY KNEW WHAT WAS COMING.

THESE AMAZING MUSICIANS WEREN'T WORKING, THEY'RE FURLOUGHED, THEY DON'T KNOW WHEN THE MET IS BACK ON AND THE SAN FRANCISCO SYMPHONY AND THE CHICAGO SYMPHONY.

THERE WAS NO GUARANTEE ALONG WITH EVERYTHING THIS YEAR, THAT THIS WAS THE RIGHT THING TO DO UNTIL WE WERE DOING IT.

AND THEN WE REALIZED, WE DON'T LOOK LIKE THE BEACH, WE DON'T LOOK LIKE THE TRAILS.

WE HAVE PEOPLE, EVERYONE'S WEARING MASKS.

EVERYONE IS KEEPING THEIR DISTANCE.

EVERYBODY IS JUST TREATING THIS AS A BLESSING TO BE ABLE TO DO SOMETHING WE'RE NOT PICTURING CAN BE DONE IN THE MIDDLE OF A VIRUS.

- IT TRULY IS A MIRACLE THAT THIS IS HAPPENING.

THIS IS JUST ONE OF THE MOST INCREDIBLE THINGS I'VE EVER SEEN COME TOGETHER WITH ALL OF THE CHALLENGES OF A PANDEMIC, AND TRYING TO GET PEOPLE SAFELY TO PLAY TOGETHER.

- RIGHT NOW, DURING THIS COVID TIME, WE'RE GRATEFUL FOR ANY OPPORTUNITY TO INTERACT WITH LIVE MUSICIANS, AS OPPOSED TO WHAT WE CALL DISTANCE RECORDING WHERE PEOPLE RECORD FROM THEIR OWN HOMES AND THEN IT'S ASSEMBLED LATER.

REALLY AFTER HAVING ONLY NOT PERFORMED BUT NOT EVEN PLAYED OR REHEARSED IN FRONT OF ANOTHER HUMAN BEING FOR FIVE MONTHS.

REALLY, I HONESTLY HAD SOME ANXIETY ABOUT BEING IN FRONT OF PEOPLE AGAIN.

YOU KIND OF LOSE CONTACT WITH THE IMMEDIACY OF WHAT IT'S LIKE TO DO THE WORK WE'VE BEEN SO ACCUSTOMED TO DOING, IN MY CASE, FOR ALMOST A QUARTER CENTURY.

I THINK NONE OF US WHO ARE HERE RIGHT NOW, REALLY KNOW WHEN THE NEXT TIME WILL BE.

SUMMER WITH THE WARM WEATHER, WE CAN DO THIS OUTDOORS.

ONCE THE WINTER MONTHS COME, NONE OF US REALLY KNOW WHAT'S AHEAD.

SO THIS HAS TRULY BEEN A SPECIAL MOMENT.

- THESE GUYS ARE THINKING OUT OF THE BOX AND REALLY PIVOTING AT A TIME WHEN WE NEED IT MOST AND REALLY GIVING A SERVICE TO THE COMMUNITY HERE AT LAKE TAHOE.

SO I WAS SO OVERJOYED.

NOT ONLY THAT CLASSICAL TAHOE WAS DOING THIS, BUT THAT I COULD BE A PART OF IT.

IT'S BEEN PRETTY AMAZING.

- I DON'T THINK THAT I REALIZED HOW MUCH THIS MEANT, TO BE ABLE TO PLAY LIVE MUSIC, THERE ISN'T A DAY THEY GET UP THAT THEY DON'T TAKE THEIR INSTRUMENT AND SIT NEXT TO SOMEBODY ELSE, AND BRING THIS SOUND FORTH.

IN GETTING TOGETHER AND PLAYING MUSIC, I THINK THAT WE SOLIDIFIED OURSELVES AS AN ORCHESTRA AND AS AN ORGANIZATION AND AS A BOARD AND AS A COMMUNITY TO REALLY WANT THIS TO PERSEVERE.

FORMLESS TO INSPIRED.

- MY NAME IS MICAH BLANK AND I CREATE JEWELRY.

I MAKE ALL OF MY JEWELRY IN THE OLD POST OFFICE IN DOWNTOWN RENO IN THE BASEMENT.

I GOT STARTED IN JEWELRY BECAUSE I WANTED TO WEAR JEWELRY AND I COULDN'T EVER FIND JEWELRY THAT I LIKED SO I DECIDED THAT I HAD TO MAKE MY OWN JEWELRY.

I REALLY LIKE GOLD JEWELRY BUT I LIKE IT TO BE PARTICULAR AND KIND OF LOOK A CERTAIN WAY.

I LIKE SIGNET STYLE RINGS AND I LIKE KINDA BIGGER HEAVIER PIECES.

I LIKE TO USE A LOT OF DIAMONDS AND 18-KARAT GOLD.

I WOULD CONSIDER TO BE MORE OF A FINE JEWELRY BUT I ALSO LIKE IT TO BE JUST VERY BASIC AND KIND OF MINIMALIST AND SIMPLISTIC.

I MAKE NECKLACES, BRACELETS, EARRINGS, RINGS.

I REALLY LIKE TO MAKE ENGAGEMENT RINGS.

I LOVE DIAMONDS SO WHEN PEOPLE WANT AN ENGAGEMENT RING, I GET EXCITED BECAUSE IT'S JUST LIKE A STATEMENT PIECE AND I LOVE IT.

USUALLY I START WITH THE STONE SO I'M BUILDING A DESIGN AROUND A CENTER STONE.

SO DEPENDING ON THE SHAPE, I KINDA CREATE THE LINES OF IT SO IT'S GONNA KINDA FIT WITH THE SHAPE OF THE STONE.

WHEN I SIT DOWN AND CREATE A PIECE OF METAL, I USUALLY MELT THE METAL IN SOME KIND OF A CRUCIBLE OR JUST SOME A FORM SO THAT I CAN GET A BASIC SHAPE OF THE MELTED METAL AND THEN FROM THERE I WILL DRAW IT INTO WIRE OR HAMMER IT INTO A SHAPE THAT I NEED.

I REALLY LIKE WORKING WITH THE METAL.

IT'S VERY PLEASING TO SEE IT KINDA STRETCH OUT AND BECOME SOMETHING OUT OF KINDA JUST THIS LUMP OF GOLD THAT I MELTED DOWN.

I TRY TO KEEP IN MIND DIMENSIONS AND PROPORTIONS OF THE ACTUAL JEWELRY ITSELF, I DON'T WANT TO MAKE A RING TOO HEAVY SO THAT THE STONE LOOKS SMALLER AND I DON'T WANNA MAKE IT TOO SMALL SO LIKE TOO THIN SO IT'S FLIMSY.

I TRY TO KEEP IN MIND LIKE STRUCTURAL INTEGRITY AND THINGS LIKE THAT.

SOMETIMES PEOPLE WILL BRING IN AN HEIRLOOM PIECE OF JEWELRY THAT THEY RECEIVED FROM A RELATIVE WHETHER IT BE THEIR MOTHER, THEIR GRANDMOTHER AND THE STYLE IS A BIT OUTDATED AND THEY JUST WANT SOMETHING USING THOSE STONES, THEY WANT IT TO BE A BIT MORE CURRENT OR SOMETHING UNIQUE TO THEM.

AND SO FROM THERE, WE'LL JUST KIND OF DISCUSS WHAT THEY WANT AND THEN WE'LL TAKE ALL THE STONES OUT, MELT THE GOLD DOWN AND START MAKING A REALLY INTERESTING RING USING METAL AND STONES THEY ALREADY HAVE.

I THINK IT'S REALLY IMPORTANT TO REPURPOSE JEWELRY AND THINGS THAT WE HAVE, LIKE REPURPOSING ANYTHING.

SO IF WE CAN USE DIAMONDS THAT HAVE ALREADY, YOU KNOW, AND WE CAN USE RECYCLED GOLD, I THINK THAT'S VERY IMPORTANT IN THE PROCESS.

YOU WANNA MAKE SURE THAT YOU ARE BUYING SOMETHING THAT YOU KNOW LIKE OKAY, THE PERSON WAS PAID A FAIR WAGE TO FIND THIS GEM STONE AND I THINK EVERYONE SHOULD WANNA MAKE SURE THAT THEIR HANDS ARE CLEAN SO TO SAY WHEN THEY BUY THEIR JEWELRY.

I THINK THE MOST GRATIFYING PART TO ME IS THE FINISHED PIECE BECAUSE I KNOW WHERE IT STARTED, I KNOW THAT IT STARTED WITH JUST A WIRE OR JUST A WIRE AND SOME STONES ON MY BENCH, AND THEN I GET TO SEE IT KIND OF EVOLVE INTO THIS ACTUAL, IT STARTS TO LOOK LIKE A RING AND THEN WHEN YOU POLISH IT OR CLEAN IT UP, THEN IT STARTS TO LOOK LIKE, AND THEN YOU SEE THE FINISHED PIECE COMING OUT.

EVERY TIME I MAKE A PIECE OF JEWELRY, I'M LIKE OH THIS IS NICE.

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