So.

Hello, everyone.

I'm Rebecca Vincent Leary, and welcome to this edition of Connecting the Community.

Music is in the air, and there is a specific flair for opera.

During this episode, we'll take a journey with Pensacola Opera delving into this nonprofit, professional company that encompasses Northwest Florida.

Its expanse is impressive, surveying over 40,000 adults and children each year to perform dances and a variety of innovative educational and community programs.

To discuss this further, I'm happy to welcome Corey McFerrin artistic Director.

He's joined by music director Cody Martin.

Gentlemen, so glad to have you.

Pleasure to be here.

All right, Corey, so we must educate our viewing audience.

What is opera?

Well, opera, in its simplest form, is a combination of words and music.

But out of all the classical art forms, it's the most complex, the most.

I started to say.

Interesting.

There are a lot of interesting.

Oh, yes.

Absolutely.

But opera really does incorporate, high level music making with the full orchestra acting, high production stage values.

So really, it's a complete work using all artistic disciplines.

Even more than other, I believe you.

So your journey that led you to your current position, why don't you give us the backstory?

Sure.

Well, I, I won't tell you the whole thing, all right?

I started out as a saxophone player.

I went to college and became an opera singer.

I like to say I was so good on saxophone.

I sing opera now.

But I started singing and I started singing professionally.

And in 2007, I sang at Pensacola Opera.

And as I was driving through town, I thought, this is a town I could live in, and not too many, 2010 my wife got a job as director of education, and we moved here and we loved it.

And she is now our general director.

And I sort of wound up my full time performing career.

And as for I'm fortunate enough to be artistic director now.

So Chandler, my wife and I work together, the company, which is great.

And I love your energy.

Okay, Cody, stepping into your world, did you aspire to be a music director at a young age?

So I started out as a pianist, and then I started working with singers and grew to love that world.

Working with singers.

I had was a drum major in high school, so I started conducting then, and I kind of just combined all of that into what I do now.

So it's a combination of all those things.

Yeah.

Corey was a drum major as well.

So.

And so was and so were you.

So it's a room full of teachers.

The second one.

Isn't that amazing?

Yeah.

Now, what led you to Pensacola Opera?

I came here, I had worked with the former artistic director, Gerry Shannon.

We'd worked together, and he.

This job came up and he called me, and, So I came here, and I've been here about eight years now, running the education programs and then eventually becoming the music director.

So it's been a progression.

I know it has.

Life is definitely a continuum.

Corey, how long has Pensacola Opera been in existence?

Since 1983.

And we we are celebrating now our 43rd season.

We had a big 40th, blowout a couple of years ago.

And so, 43 years we've been around.

That is phenomenal.

There is so much happening right now.

We're going to delve into some of the productions, but let's kick it off with three Decembers.

Explain it.

The backstory.

December's is, a, small three three person opera, but very beautifully composed by a composer named Jake Heggie.

It really revolves around a family drama, a mother who's a performer, and her two children.

And it takes place over the course of three Decembers, ten years apart.

And the music is very accessible and, almost a bit like musical theater.

So really beautiful, accessible to the audience.

And the the story is quite gripping, spanning three decades.

Cody, what is the Jan Miller Studio Artist program?

And of course, who is Jan Miller?

Yeah.

So the studio Artist program, it's been around a little over 20 years now, and it is a group of singers and a pianist who are here for the entire season.

It's usually 22 weeks all together, and they perform throughout the community.

In schools, libraries, parks, anywhere you could think of.

They also are part of the main stage productions.

And while they're here, they receive training and coaching and voice lessons and all of that to kind of help build their operatic careers.

And it's named for Jan Miller, as you mentioned, who is a full woman.

Amazing.

And we love Big supporter of the opera.

And she was instrumental in beginning what was then known as the Artist in Residence program in 2003.

And then as part of our 40th anniversary campaign, a few years ago, she, helped to support the program even further, and so we named it after her.

There are so many educational elements.

One is opera in schools, educational tours, library tours.

Please explain that.

Yeah.

So each season, part of our education programs, we have, it's usually a 30 or 35 minute opera that was written just for children, and it's in English and has sets and costumes, and they tour around with the keyboard, so they can kind of pop up anywhere and put on this 30 minute opera for kids.

And it's really just a great way to introduce kids to the magic of theater and music.

And most of these schools, we go to all the public schools.

It's a free program for them, I love that, yes.

So, and most of these kids, of course, have never seen an opera.

And so the fact that we were able to just bring it to them and expose them to this music, at a young age is just really incredible.

Can definitely segue into future performers.

Right.

Corey.

So, all right, we're we're going down the list of performances.

Another one is La Traviata back drop in Paris.

Tell me more.

Brava for your pronunciation.

Traviata is, just simply Verdi, one of his masterpieces.

And traviata is about, it's like in the opera, a beautiful romance that gets spoiled by a baritone and ends in death.

So, but but the musically and story wise, it's one of the great, operas of the operatic canon.

As we call it, traditional operas that are popular worldwide.

And we generally pick operas based on what we have and haven't seen.

And the cast that we want to cast.

And this is no exception.

And it's really, if you haven't seen traviata, it's one of the staples of the repertoire.

There's a love story embedded in that.

There is a love story that, of course, the tenor in the soprano, he sees her at a party and falls madly in love.

And, they unfortunately cannot be together forever.

Violetta is sick, and the tenor's father comes in and says, you know, this is not going to go well.

Perhaps you should leave him.

It would be better for his life.

And so she, of course, is broken hearted.

And then so, of course, is he, and, it's it's a beautifully poignant story, of course.

A bit sad at the end, but, in Fairy Opera 101 is great.

Absolutely.

Our viewers definitely need to take note.

Cody, a lot happening with students.

I enjoyed reading about student dress rehearsals on the website.

Give me your take on that.

Yeah, I think that's great.

I mean, I it's, you know, it's an opportunity for so we sell discounted tickets for students and teachers and chaperons to come see the final dress rehearsal.

So this is, you know, our product at its largest and most expensive.

So it's our full productions.

The Wednesday evening of our rehearsal week, we invite these students in to see a full performance with the orchestra and the sets and the lighting and the costumes, and, it's you know, it's kind of an expansion upon what we do when we go to schools with our tiny little productions.

It's just on a bigger scale.

And so it gets them to see, as Corey was talking about all the different elements that go into opera, with the sets and the lighting and dancing and orchestra.

So it's just an opportunity for them to see it all come together.

And I can feel your enthusiasm.

So let's talk about overture.

Summer camp, one week jam packed with goodness.

Oh, yes.

So our upper camp.

Yeah, it's the real.

It's the biggest, like, hands on experience we have for kids.

They come, for a week, and they basically learn an opera over the course of five days.

They audition for their parts, they get their parts cast, and they put on a full, condensed 30 minute opera on Saturday for their parents.

And, you know, they learn about what it means to create sets and costumes and props and all of that and stage directions.

And, it's it's so much fun and it's a lot of energy to be in our building for them.

This year they learned how to toast with the champagne glass.

Exactly.

It's always great for school kids without any champagne in.

And of course, right.

Absolutely.

I love your energy.

Okay, Corey, we've got to talk about the wild, wild West in Oklahoma.

Well, Oklahoma, where the wind comes sweeping down the plane.

Of course, everyone knows that.

Great song.

Oklahoma.

Why don't you give us a little bit more, please?

Well, there's a bright golden haze on the meadow.

You know, there's such iconic songs in Oklahoma that people love.

And Oklahoma is a, Golden Age musical by Rodgers and Hammerstein, which is, more and more opera companies are doing those style musicals in this day and age because they have a full orchestra and we sing them with, beautiful classical voices.

And Oklahoma is a timeless musical theater piece that we are really excited to, produce.

We had a we did carousel, another Rodgers and Hammerstein piece, and we had a, a donor that really loved it and wanted to support us doing another musical.

And so, we're doing it and we're really excited.

We have a great cast.

And this is, you know, it is operatic in form, but it's a little bit, maybe more accessible if you've never seen one.

I tell you what, you have an exceptional voice.

I could hear you sing for days now, Cody, I would ask you, but let's move on.

I'm not a singer, so don't ask me to, okay?

Opera 101. Who sings opera?

What is opera?

We've already talked about that.

But rehearsals and everything that goes along with opera 101.

Yeah.

So, I mean, talking about the rehearsal process, the general process, we put everything together over the course of about two weeks.

So before that, the singers learn their roles and they have it all memorized.

And then we come together and in two weeks, everybody gets together in the room.

They learn their staging, they learn where they're going on stage, who they're talking to in this scene, what the director wants them to be telling, what part of the story they're telling.

And then we spend a week on the stage figuring out where the sets are and where they're coming on and off, and how the lighting is going to look, adding the orchestra down in the pit.

So really, it's three weeks all together and then it's showtime.

We have two performances and then it's gone before you know, it, which is really fascinating.

I know that you do so much in the community.

Pensacola Opera is everywhere, but there are additional community programs probably outreach.

Why don't you tell us a little bit about that?

We've got it.

Yeah, we have a bunch of programs.

One of my favorites is Brown Bag Opera, which is a monthly lunch recital during the season.

And it's free.

It's on a Tuesday at noon.

It varies, which to say, depending on the month and paying on a schedule, but they'll start in September and go through March.

And we packed the Opera center.

I mean, we usually have between 70 and 80 people that come to those, and it's our Jane Miller studio.

Artists are the ones who perform, and, they get to perform, you know, Arias and songs and duets.

And it's really fun to just have those free, experiences for the community.

And we also do something similar in our al fresco series where we go to parks and outdoor spaces, from time to time that, yeah, it's so much fun.

We add some microphones because the outdoor acoustics are not as good for singing, but.

Yeah, exactly.

Always.

There's always something going on, but it's a lot of fun.

Corey, you were exceptional.

So paint a scenario for us if you will.

Let's just say we have a youngster that's coming up and they say, I'm interested in opera.

What would you do initially outside of maybe an audition?

Well, it depends on their age and what they're interested in.

I always recommend, if you're interested in singing, studying, singing and also piano.

Really the foundation of music.

And I'll be learning piano and then, really, opera is a difficult skill set to develop.

There's languages involved, there's complex singing.

It's why it's an art form that has been around for a long, long time.

The, the virtuosity of operatic singing has to be studied over many years.

And so you want them to be in a good place to study with a good teacher, a good foundation of education.

And then they, you know, they start they audition for companies like ours for our Jane Miller Study Artist program and then eventually work their way into a professional career.

But that's a years long process.

And the journey is quite rewarding.

But just like anything worth doing, it can be difficult as well.

So I am curious.

Language is would they study these languages on their own or learn them specifically through the music?

Both typically.

And in the United States, we go to university and you would study French, German, Italian at least.

There's also Russian and Czech, Spanish.

They're operas in every language.

But the European languages are at the forefront.

And you study it in school and then hopefully you move on to grad school, and then after that, maybe an apprentice program and then a career.

And I, I went to school for eight years, and my dad thought I should have been a brain surgeon afterwards.

I think you made the right decision.

Thank you.

Gentlemen, it has been such a pleasure.

I've learned so much.

All right, folks, as we had to break our journey with Pensacola Opera.

Continue.

As we give you a little taste of the Marriage of Figaro.

Enjoy.

We'll be back right after this.

Show you.

Are.

In.

The center.

Here.

It is home center 2.1.

Hundred and.

Three.

Legend.

Happy future.

And thank you for your.

Hello, everyone.

During this segment.

Get ready to be wowed by two Pensacola Opera Studio artists alumni who have amazing vocals.

It's an honor to welcome Jack Chandler and Sheila Dunn to the show.

I'm ready to hear both of you saying, oh, all right, we'll get to that in just a moment.

But, Jack, I'm going to start with you.

Please explain your role as a studio artist.

Alumnus.

What what did that entail?

Yeah, sure.

So I was, a studio artist back in the 2020, 2021 season.

Okay.

And, it was a fantastic experience.

I loved my colleagues.

I loved the shows that we did.

You'll recall it was in the middle of Covid, so the whole season was a little bit modified.

But, we still had a blast.

We still put on great works of music.

Still had a lot of fun.

So it was a really, really good time doing mainstage shows, but also concerts.

And we did, we did an outreach, video productions.

So it was it was a really cool season.

So what is the difference between being a studio artist versus a performing artists?

Are they synonymous or similarities differences?

Similar.

So the way the studio artist program works is that they come in for the whole season and they do a whole bunch of different things, a whole bunch of different performing opportunities.

Now I've come back to the opera company, but just for periodic performances, and we'll do like I'll be in La Traviata later this season.

I'll do a couple of concerts or recitals here and there.

But it's, it's a one off.

Instead of being part of the company for the whole entire season.

Now, I heard a little birdie told me, you sing a lot.

In actuality, the al fresco concert series held outdoors.

I heard you did something exceptional.

So we're going to have our viewers take a look at the one with the golden color for the fourth quarter.

And on LA Luz caught up.

Jack, that was amazing.

Where were you for that performance?

That was in downtown Pensacola.

And it was an outdoor venue, obviously.

And, it was a really fun concert.

I remember very vividly I had a couple of my students show up, which was really cool.

I really love it when students support their instructors.

That is amazing.

All right.

Now, Sheila, your role as a studio artist alumna, I know you have a fascinating story to share.

Yes.

Well, I auditioned for Pensacola Opera in New York City.

I was living there at the time, and, I was meant to be housed on the beach.

And they called to tell me that Hurricane Ivan had struck, so they were not going to be able to put us up at the beach.

And I hadn't told them that I was from Pensacola.

And they said, we're going to put you up with Patron Housing.

And I said, I'll just stay with my parents.

And that was when when they discovered that I was actually a native of Pensacola, which I'm very proud of.

And, it turned into decades.

I'm I'm still here, me teaching at the university.

And we'll talk more about that in a little bit.

You also have some might say, exceptional chops.

So there was an event juke Box gala.

And folks, if you've never heard Sheila sing, this is going to be a special treat with try and bring.

Oh we had like I give you one more thing.

Oh I try to.

Oh you would.

Oh I'm at home.

You can be on the street.

I'm not.

You know this in year form and things.

Oh my goodness Sheila I was so impressed I, I would imagine you probably have people come up to you after a performance and say, can I give you a hug?

Have you ever had an emotional experience?

Oh, absolutely.

That particular piece, is one that I sing almost every time I perform at Jukebox Gala.

You perform for individual tables.

Everyone can hear you because you're miked.

And that is a song that I called Bill that I like to sing for Bill McGuinness, who actually just recently passed away, and he's one of our biggest supporters.

And so we have very emotional connections with the patrons at those events.

And I find it's it's for people who have never been to an opera before, having a live performance of an aria that close to you, up and personal is life changing for people.

I can imagine now you are still serving as a performer for galas and concerts.

Share some exciting projects that you've been working on.

Well, I think that the ones that I do the most often are jukebox, gala.

You know, at this point, all of my energy really is focused at the university.

And I would say that relationship is really exciting because we're training these young singers to be opera singers.

And so we get them in the opera chorus, performing with the the current season.

And that relationship is something that I am very passionate about.

So let's segue even more so into that, because you are a voice instructor at the University of West Florida.

Let us know how long you've been doing that.

What sparked your interest?

Well, I, started teaching there in 2007 as an adjunct instructor.

And, a few years after that, I was still performing.

I was a young artist at Chautauqua Opera and various companies, Indianapolis Symphony.

I would go and perform with, but there was a full time position that opened up, and, then I became the director of the Doctor Williams School of Music, and just recently stepped down from that position and handed that position off to Corey McKernan, who is the artistic director for Pensacola Opera.

How can we forget?

So he's the best boss ever.

So have any of your students that you have transitioned to Pensacola Opera, and they have probably said, oh, Professor Dunn, we love you.

Well, very proudly this past season, one of my they're all incredible.

But one of the students that has really achieved great success came back.

Her name is Renée Richardson, and she performed the role of the Countess in Leonard Sidi Figaro.

And it was an absolutely stunning performance, exceptional.

Jack.

Now you have a significant role in the upcoming production of La Traviata.

Let's hear more.

Yeah, well, it's a it's a small role, not a big one, but it's still going to be a lot of fun.

Yeah.

I get to play the marquee and he's good friends with the lead.

Violette.

And, as Corey described earlier, there's, there's a lot of drama with the baritone and there's love and love lost and some sickness along the way.

And, I provide commentary for all of that.

So I'm really excited to be a part of the production.

So you're also a local music teacher.

Tell us where.

Yeah.

So I teach at a little Christian, k-through-12 school in town, and I also teach adjunct up at Orff.

So it keeps me it keeps me teaching lots of different age groups.

Lots of different things.

But I tell people, you know, they're all just kids.

Some are just bigger than others.

It's a lot of fun when I think about the children, I am certain you have significant moments with them.

Have you ever had a student come up to you and say, Mr. Chandler, will you sing something for me?

I might not be having a great day, but if you were to sing, you would brighten my spirits.

I had anybody come up to you to say, maybe give me a hug.

Lots of hugs down at the school, that's for sure.

Lots of moments of.

Mr. Chandler, can you please sing for us?

You know, they want to.

They want to explore.

They want to see what I do when I'm not within the the confines of the school.

So that's that's always fun, you know, to sing some high notes for them on a, on a Tuesday.

But it's, Yeah, we have a really good time.

I'll.

I'll say this, I got to tell them a little bit about Leonard City.

Figaro.

Okay.

Last season.

And, basically to dumb it down into kids terms was kind of fun and kind of entertaining to show them how this giant love triangle was all trying to resolve itself.

And it was funny, and they loved it.

And I had a fun time telling them the story.

So we, we have a really good time in the opera world.

We have a really good time in the classroom as well.

And I know that you do.

Such rays of sunshine, both of you.

Thank you so much for sharing this time with us on connecting the community.

It is always a pleasure.

I would like to thank all of our guests for joining us.

I'm Rebecca Vincent Leary, and remember to keep it locked in right here on Sri PBS for the Gulf Coast.

So.

That.