Another Podcast

jane_yawnThe latest Big COC Podcast is up on line.  Believe it or not this is episode 19 featuring Gianmarco Segato, Joseph So, Paula Citron, Stephan Bonfield and myself.  It’s available on iTunes, on the COC website and, apparently, at Stitcher.

Chuck’s back

crEarlier this week I fired up iTunes in search of the latest Melvin Bragg “In Our Time” episode and noticed that two podcasts were downloading.  The other one turned out to be a new episode of Charles Reid’s “This Opera Life”.  Now, Charles’ podcast had been on hiatus for months and I really missed it so I was delighted at this turn of events.  I didn’t get a chance to listen to it until I was heading to the market at stupid o’clock this morning.  Anyway, to cut to the chase, after an explanation of the hiatus, Charles goes on to say nice things about this blog and the Big COC Podcast.  Which is awfully kind of him.  Charles’ podcasts are mostly interviews with the ordinary working stiffs of the opera world.  Occasionally he hooks a “big name” but mostly not and it’s all the more interesting because of it.  I think his archive now has 59 episodes, curiously numbered two to sixty!  The latest features director Jonathon Loy.  I recommend it highly.

You can find Charles Reid’s podcasts at or on iTunes.

Yet another Big COC podcast

The latest episode of the Big COC Podcast is up on iTunes. This one features Gianmarco Segato of the COC plus three bloggers; myself, Lydia Perovic of Definitely the Opera and Leslie Barcza of barczablog.  We talked about Henze and European modernism segging into the differences between modern opera in Europe and America.  And that led to a discussion of Adès’ The Tempest, American conservatism, the Met and it’s audience, parties at Christopher Alden’s place and much more.  Then it was on to Lydia’s new novel, Incidental Music(go buy it).  There was also an interview with Nina Draganić about the free concerts in the Richard Bradshaw Amphitheatre.  When we came back it was for a discussion about the difference about men and women, action and feeling in opera and, ultimately, why the soprano always gets a raw deal!  I really enjoyed recording this one.  It really felt like a conversation between good friends (which it was) and it’s not been edited down too much.  I think there may have been a segment on the Opera Atelier Der Freischütz that got chopped.