Opera Union Says Plácido Domingo Engaged in 'Inappropriate Activity'
Bay Area Soprano Elliot Franks Learns to Sing With a Whole New Baritone Voice
Three Transgender Opera Singers on the Risks They Took to Live Authentically
A Legendary Tenor Marks 50 Years as LA Opera Pioneer and Leader
Silicon Valley Composer Transforms Steve Jobs' Life Story Into Opera
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Murrow Award for investigative reporting in addition to awards from the LA Press Club, the Associated Press and the Society for Professional Journalists.\r\n\r\nSteven grew up in and around San Francisco and now lives in Pasadena just a short jog from the foot of the San Gabriel Mountains.","avatar":"https://secure.gravatar.com/avatar/bbb0bb7b496f83ab350e23ad0dc7c81c?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"news","roles":["subscriber"]},{"site":"stateofhealth","roles":["author"]}],"headData":{"title":"Steven Cuevas | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/bbb0bb7b496f83ab350e23ad0dc7c81c?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/bbb0bb7b496f83ab350e23ad0dc7c81c?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/scuevas"},"cveltman":{"type":"authors","id":"8608","meta":{"index":"authors_1591205172","id":"8608","found":true},"name":"Chloe Veltman","firstName":"Chloe","lastName":"Veltman","slug":"cveltman","email":"cveltman@kqed.org","display_author_email":true,"staff_mastheads":["news"],"title":"Arts and Culture Reporter","bio":"Chloe Veltman is a former arts and culture reporter for KQED. Prior to joining the organization, she launched and led the arts bureau at Colorado Public Radio, served as the Bay Area's culture columnist for the New York Times, and was the founder, host and executive producer of VoiceBox, a national award-winning weekly podcast/radio show and live events series all about the human voice. Chloe is the recipient of numerous prizes, grants and fellowships including a Webby Award for her work on interactive storytelling, both the John S Knight Journalism Fellowship and Humanities Center Fellowship at Stanford University, the Sundance Arts Writing Fellowship and a Library of Congress Research Fellowship. She is the author of the book \"On Acting\" and has appeared as a guest lecturer at Yale University and the San Francisco Conservatory of Music among other institutions. She holds a BA in english literature from King's College, Cambridge, and a Masters in Dramaturgy from the Central School of Speech and Drama/Harvard Institute for Advanced Theater Training.\r\n\u003ca href=\"https://www.chloeveltman.com\">www.chloeveltman.com\u003c/a>","avatar":"https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g","twitter":"chloeveltman","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["author"]},{"site":"pop","roles":["editor"]},{"site":"science","roles":["editor"]}],"headData":{"title":"Chloe Veltman | KQED","description":"Arts and Culture Reporter","ogImgSrc":"https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/cveltman"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"news","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13875484":{"type":"posts","id":"arts_13875484","meta":{"index":"posts_1591205157","site":"arts","id":"13875484","score":null,"sort":[1582664384000]},"guestAuthors":[],"slug":"opera-union-says-placido-domingo-engaged-in-inappropriate-activity","title":"Opera Union Says Plácido Domingo Engaged in 'Inappropriate Activity'","publishDate":1582664384,"format":"standard","headTitle":"Opera Union Says Plácido Domingo Engaged in ‘Inappropriate Activity’ | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>\u003cstrong>Updated at 1:30 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>The union representing opera performers, choral singers and dancers says that according to an independent investigation it commissioned, opera megastar Plácido Domingo engaged in “inappropriate activity” with women both “in and outside of the workplace.”\u003c/p>\n\u003cp>In a brief \u003ca href=\"https://www.musicalartists.org/union-investigation-confirms-allegations-against-placido-domingo/\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a> issued early Tuesday, American Guild of Musical Artists gave no information about specific incidents of alleged misconduct, except to say that it ranged from “flirtation to sexual advances, in and outside of the workplace” nor did the union provide any time span for those activities. The release continued: “Many of the witnesses expressed fear of retaliation in the industry as their reason for not coming forward sooner. The AGMA Board of Governors has accepted the findings of the report and will take appropriate action.”\u003c/p>\n\u003cp>The investigation \u003ca href=\"https://www.musicalartists.org/agma-opens-independent-investigation-into-allegations-against-placido-domingo/\" target=\"_blank\" rel=\"noopener noreferrer\">was launched\u003c/a> last September. Two sources tell NPR that its conclusion was to include a $500,000 settlement between the singer and AGMA. But, the sources say, the settlement was retracted overnight after The Associated Press\u003ca href=\"https://apnews.com/1a8add4db2c4ba38420b7b8b2857ffac\" target=\"_blank\" rel=\"noopener noreferrer\"> published some details\u003c/a> about the investigators’ findings early Tuesday.\u003c/p>\n\u003cp>The AP reported that the investigators hired by AGMA spoke to 27 people who said that they were either “sexually harassed or witnessed inappropriate behavior” over the course of two decades and that the timeline of Domingo’s behavior included the periods during which he was artistic director at Washington National Opera and general director of LA Opera. One of NPR’s sources who saw the investigators’ report confirmed the total number of alleged victims and witnesses, as well as the time frame of the misconduct.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 79-year-old singer’s representatives did not immediately reply to NPR’s request for comment. However, he issued a statement to the AP, saying: “I have taken time over the last several months to reflect on the allegations that various colleagues of mine have made against me. I respect that these women finally felt comfortable enough to speak out, and I want them to know that I am truly sorry for the hurt that I caused them. I accept full responsibility for my actions, and I have grown from this experience.”\u003c/p>\n\u003cp>The AGMA investigation, as well as a separate independent investigation led by LA Opera, was launched after the AP \u003ca href=\"https://apnews.com/3baf2ccc59144284b227f29eb7d44797\">last year\u003c/a> reported accusations of 20 women who said that Domingo had sexually harassed them as far back as the 1980s and as recently as the 2016-2017 opera season.\u003c/p>\n\u003cp>In a statement issued Tuesday, the two Domingo accusers who have come forward by name—singers Patricia Wulf and Angela Turner Wilson—urged AGMA to drop Domingo’s membership from the union. “Even though the industry failed to protect us from misogynist and predatory behavior, an expulsion from the union would signal that the industry is learning from its mistakes and that sexual harassment and abuse—perpetuated by industry complicity—will not be tolerated in the future.”\u003c/p>\n\u003cp>In the same statement, the two women’s lawyer, Debra Katz, who also represents other Domingo accusers, urged AGMA to release the results of its investigation, saying: “Opera companies may have prioritized ticket sales generated by powerful men over the safety of women in the industry, but the AGMA now has an opportunity to send a clear message that the safety and dignity of women matter. We look forward to the release of the final report.”\u003c/p>\n\u003cp>Several prominent American companies, including most notably the \u003ca href=\"https://www.npr.org/2019/09/24/764011716/placido-domingo-out-at-metropolitan-opera-following-sexual-misconduct-allegation\" target=\"_blank\" rel=\"noopener noreferrer\">Metropolitan Opera\u003c/a>, parted ways with Domingo in the wake of the accusations. By contrast, many European opera houses and singers either offered him public support or suggested that they would await the results of the investigations.\u003c/p>\n\u003cp>Speaking anonymously for fear of retribution, the sources with knowledge of the planned $500,000 settlement told NPR that Domingo’s legal team withdrew its settlement offer with AGMA early Tuesday morning. NPR has viewed the email which senior AGMA leadership sent early Tuesday to its \u003ca href=\"https://www.musicalartists.org/about-agma/board-members-officers/\" target=\"_blank\" rel=\"noopener noreferrer\">officers and national board of governors\u003c/a>, a group of about 80 individuals, saying that the union intends to take “appropriate action” against any members who had spoken to the AP, adding: “The damage caused by these individuals to our union, our members and the targets of Domingo’s harassment is incalculable.” AGMA declined to comment to NPR on details of the tentative settlement or its withdrawal.\u003c/p>\n\u003cp>The results of the AGMA investigation were not supposed to be disclosed, either in summary or in full, to the public or to the union’s membership. Union leaders, however, were permitted to speak individually to members about the investigation and its findings.\u003c/p>\n\u003cp>Funds from the settlement were supposed to cover AGMA’s fees for the investigation, to fund a sexual harassment prevention training program for AGMA’s membership and possibly also to be distributed in part to a variety of organizations that aid survivors of sexual misconduct and abuse.\u003c/p>\n\u003cp>In its Tuesday public statement, AGMA said that the union and its signatory performing arts companies plan to “improve culture” and “prevent harassment in the future.” Additionally, AGMA said it will conduct a promotional campaign and use training programs “to empower its membership to speak out and prevent harassment.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The separate investigation \u003ca href=\"https://www.npr.org/2019/08/13/750766148/report-placido-domingo-accused-of-sexual-harassment-by-multiple-women\" target=\"_blank\" rel=\"noopener noreferrer\">launched\u003c/a> by LA Opera, where Domingo was \u003ca href=\"https://www.npr.org/2019/10/02/766513143/placido-domingo-resigns-from-la-opera\" target=\"_blank\" rel=\"noopener noreferrer\">general director\u003c/a> for 16 years before resigning last October, is ongoing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Union+Says+Pl%C3%A1cido+Domingo+Engaged+In+%27Inappropriate+Activity%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"The statement from the American Guild of Musical Artists contained no details, although an Associated Press story did, reportedly prompting the withdrawal of a $500,000 settlement.","status":"publish","parent":0,"modified":1705021227,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":930},"headData":{"title":"Opera Union Says Plácido Domingo Engaged in 'Inappropriate Activity' | KQED","description":"The statement from the American Guild of Musical Artists contained no details, although an Associated Press story did, reportedly prompting the withdrawal of a $500,000 settlement.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Opera Union Says Plácido Domingo Engaged in 'Inappropriate Activity'","datePublished":"2020-02-25T20:59:44.000Z","dateModified":"2024-01-12T01:00:27.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Dimitar Dilkoff","nprByline":"Anastasia Tsioulcas","nprImageAgency":"AFP via Getty Images","nprStoryId":"809206575","nprApiLink":"http://api.npr.org/query?id=809206575&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2020/02/25/809206575/union-says-pl-cido-domingo-engaged-in-inappropriate-activity?ft=nprml&f=809206575","nprRetrievedStory":"1","nprPubDate":"Tue, 25 Feb 2020 14:04:00 -0500","nprStoryDate":"Tue, 25 Feb 2020 11:06:56 -0500","nprLastModifiedDate":"Tue, 25 Feb 2020 14:04:16 -0500","templateType":"standard","featuredImageType":"standard","path":"/arts/13875484/opera-union-says-placido-domingo-engaged-in-inappropriate-activity","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 1:30 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>The union representing opera performers, choral singers and dancers says that according to an independent investigation it commissioned, opera megastar Plácido Domingo engaged in “inappropriate activity” with women both “in and outside of the workplace.”\u003c/p>\n\u003cp>In a brief \u003ca href=\"https://www.musicalartists.org/union-investigation-confirms-allegations-against-placido-domingo/\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a> issued early Tuesday, American Guild of Musical Artists gave no information about specific incidents of alleged misconduct, except to say that it ranged from “flirtation to sexual advances, in and outside of the workplace” nor did the union provide any time span for those activities. The release continued: “Many of the witnesses expressed fear of retaliation in the industry as their reason for not coming forward sooner. The AGMA Board of Governors has accepted the findings of the report and will take appropriate action.”\u003c/p>\n\u003cp>The investigation \u003ca href=\"https://www.musicalartists.org/agma-opens-independent-investigation-into-allegations-against-placido-domingo/\" target=\"_blank\" rel=\"noopener noreferrer\">was launched\u003c/a> last September. Two sources tell NPR that its conclusion was to include a $500,000 settlement between the singer and AGMA. But, the sources say, the settlement was retracted overnight after The Associated Press\u003ca href=\"https://apnews.com/1a8add4db2c4ba38420b7b8b2857ffac\" target=\"_blank\" rel=\"noopener noreferrer\"> published some details\u003c/a> about the investigators’ findings early Tuesday.\u003c/p>\n\u003cp>The AP reported that the investigators hired by AGMA spoke to 27 people who said that they were either “sexually harassed or witnessed inappropriate behavior” over the course of two decades and that the timeline of Domingo’s behavior included the periods during which he was artistic director at Washington National Opera and general director of LA Opera. One of NPR’s sources who saw the investigators’ report confirmed the total number of alleged victims and witnesses, as well as the time frame of the misconduct.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 79-year-old singer’s representatives did not immediately reply to NPR’s request for comment. However, he issued a statement to the AP, saying: “I have taken time over the last several months to reflect on the allegations that various colleagues of mine have made against me. I respect that these women finally felt comfortable enough to speak out, and I want them to know that I am truly sorry for the hurt that I caused them. I accept full responsibility for my actions, and I have grown from this experience.”\u003c/p>\n\u003cp>The AGMA investigation, as well as a separate independent investigation led by LA Opera, was launched after the AP \u003ca href=\"https://apnews.com/3baf2ccc59144284b227f29eb7d44797\">last year\u003c/a> reported accusations of 20 women who said that Domingo had sexually harassed them as far back as the 1980s and as recently as the 2016-2017 opera season.\u003c/p>\n\u003cp>In a statement issued Tuesday, the two Domingo accusers who have come forward by name—singers Patricia Wulf and Angela Turner Wilson—urged AGMA to drop Domingo’s membership from the union. “Even though the industry failed to protect us from misogynist and predatory behavior, an expulsion from the union would signal that the industry is learning from its mistakes and that sexual harassment and abuse—perpetuated by industry complicity—will not be tolerated in the future.”\u003c/p>\n\u003cp>In the same statement, the two women’s lawyer, Debra Katz, who also represents other Domingo accusers, urged AGMA to release the results of its investigation, saying: “Opera companies may have prioritized ticket sales generated by powerful men over the safety of women in the industry, but the AGMA now has an opportunity to send a clear message that the safety and dignity of women matter. We look forward to the release of the final report.”\u003c/p>\n\u003cp>Several prominent American companies, including most notably the \u003ca href=\"https://www.npr.org/2019/09/24/764011716/placido-domingo-out-at-metropolitan-opera-following-sexual-misconduct-allegation\" target=\"_blank\" rel=\"noopener noreferrer\">Metropolitan Opera\u003c/a>, parted ways with Domingo in the wake of the accusations. By contrast, many European opera houses and singers either offered him public support or suggested that they would await the results of the investigations.\u003c/p>\n\u003cp>Speaking anonymously for fear of retribution, the sources with knowledge of the planned $500,000 settlement told NPR that Domingo’s legal team withdrew its settlement offer with AGMA early Tuesday morning. NPR has viewed the email which senior AGMA leadership sent early Tuesday to its \u003ca href=\"https://www.musicalartists.org/about-agma/board-members-officers/\" target=\"_blank\" rel=\"noopener noreferrer\">officers and national board of governors\u003c/a>, a group of about 80 individuals, saying that the union intends to take “appropriate action” against any members who had spoken to the AP, adding: “The damage caused by these individuals to our union, our members and the targets of Domingo’s harassment is incalculable.” AGMA declined to comment to NPR on details of the tentative settlement or its withdrawal.\u003c/p>\n\u003cp>The results of the AGMA investigation were not supposed to be disclosed, either in summary or in full, to the public or to the union’s membership. Union leaders, however, were permitted to speak individually to members about the investigation and its findings.\u003c/p>\n\u003cp>Funds from the settlement were supposed to cover AGMA’s fees for the investigation, to fund a sexual harassment prevention training program for AGMA’s membership and possibly also to be distributed in part to a variety of organizations that aid survivors of sexual misconduct and abuse.\u003c/p>\n\u003cp>In its Tuesday public statement, AGMA said that the union and its signatory performing arts companies plan to “improve culture” and “prevent harassment in the future.” Additionally, AGMA said it will conduct a promotional campaign and use training programs “to empower its membership to speak out and prevent harassment.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The separate investigation \u003ca href=\"https://www.npr.org/2019/08/13/750766148/report-placido-domingo-accused-of-sexual-harassment-by-multiple-women\" target=\"_blank\" rel=\"noopener noreferrer\">launched\u003c/a> by LA Opera, where Domingo was \u003ca href=\"https://www.npr.org/2019/10/02/766513143/placido-domingo-resigns-from-la-opera\" target=\"_blank\" rel=\"noopener noreferrer\">general director\u003c/a> for 16 years before resigning last October, is ongoing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Union+Says+Pl%C3%A1cido+Domingo+Engaged+In+%27Inappropriate+Activity%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13875484/opera-union-says-placido-domingo-engaged-in-inappropriate-activity","authors":["byline_arts_13875484"],"categories":["arts_69","arts_235"],"tags":["arts_2798","arts_763","arts_5676"],"affiliates":["arts_137"],"featImg":"arts_13875485","label":"arts_137"},"news_11773464":{"type":"posts","id":"news_11773464","meta":{"index":"posts_1591205157","site":"news","id":"11773464","score":null,"sort":[1568559938000]},"guestAuthors":[],"slug":"bay-area-soprano-elliot-franks-learns-to-sing-with-a-whole-new-baritone-voice","title":"Bay Area Soprano Elliot Franks Learns to Sing With a Whole New Baritone Voice","publishDate":1568559938,"format":"standard","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>Earlier this year, Elliot Franks appeared as a special guest at a transgender singing symposium in San Francisco. About 100 singers, voice coaches and academic researchers met for a day to share their experiences and advice.\u003c/p>\n\u003cp>Franks did something that day that took a lot of courage. He stood in front of all those voice experts while samples of his singing — recorded at various stages of his gender reassignment process — played over the speakers. His voice had changed over a period of two years or so, from ringing high and clear as a bell, to sounding low and croaky.\u003c/p>\n\u003cp>\"You feel sort of bad knowing that you did that to your voice, when your voice has been so good to you,\" Franks said.\u003c/p>\n\u003cp>In the 1990s and early 2000s, Franks was one of the San Francisco Bay Area’s go-to classical singers, making regular appearances with acclaimed ensembles, like the Philharmonia Baroque Orchestra & Chorale and the San Francisco Opera Chorus.\u003c/p>\n\u003cp>\"Elliot's voice was magnificent,\" said Philharmonia Chorale director Bruce Lamott, who worked with Franks for about a decade. \"He had a very agile voice with an extraordinary range.\"\u003c/p>\n\u003cp>Back then, Franks used his female birth name and sang traditional soprano and mezzo-soprano parts. But offstage, he always dressed in men’s attire and preferred to be addressed with masculine pronouns. This was in keeping with his lifelong belief that gender covers a wide spectrum.\u003c/p>\n\u003cp>\"To be forced to conform to one of two standard gender norms is to deny a person’s individuality, freedom of expression, personal identity and integrity,\" Franks said.\u003c/p>\n\u003cfigure id=\"attachment_11773575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11773575 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/Elliot-singing-at-the-trans-singing-symposium-800x413.png\" alt=\"Elliot Franks and his vocal coach Ruth Rainero present a session at the 2019 Transgender Singing Symposium in San Francisco.\" width=\"800\" height=\"413\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/09/Elliot-singing-at-the-trans-singing-symposium-800x413.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Elliot-singing-at-the-trans-singing-symposium-160x83.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Elliot-singing-at-the-trans-singing-symposium-1020x527.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Elliot-singing-at-the-trans-singing-symposium-1200x619.png 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Elliot-singing-at-the-trans-singing-symposium-1920x991.png 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Elliot-singing-at-the-trans-singing-symposium.png 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elliot Franks and his vocal coach, Ruth Rainero, present a session at Trans and Singing: A Symposium for Voice Teachers and Singers, in San Francisco in February 2019. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 56-year-old Richmond resident said he has felt this way since he was a kid growing up near Birmingham, England, in the 1970s.\u003c/p>\n\u003cp>As a teen whom others saw as a girl but who clearly felt differently about his own identity, Franks said he found the gender-neutral church choir dress code, with its baggy, tentlike robes, oddly liberating.\u003c/p>\n\u003cp>\"That was my refuge really,\" Franks said. \"To be in a situation where I could be myself, and at that point, sort of relatively genderless.\"\u003c/p>\n\u003cp>Franks watched the boys at school with envy, but couldn’t quite figure out why.\u003c/p>\n\u003cp>[pullquote align=\"left\" citation=\"Elliot Franks\"]\"I thought, well, you know, I'm never going to be a young man. That's gone. But I can at least be a middle-aged, chubby guy, and maybe feel a little more comfortable in my own skin.\"[/pullquote]\u003c/p>\n\u003cp>\"All the other boys would go out and play soccer,\" Franks said. \"And the girls, of which they seemed to lump me in with, had to stay in and do needlework.\"\u003c/p>\n\u003cp>A heavy silence hung over the singer’s formative years around questions of gender identity.\u003c/p>\n\u003cp>\"Back then there was just really no information,\" he said. \"So you sort of feel like you're the only person in the world that feels like that.\"\u003c/p>\n\u003cp>That feeling of isolation lingered long after Franks won a full ride to the Royal Northern College of Music, one of the most prestigious music colleges in the United Kingdom, and busted out of England in the late 1980s on a scholarship to pursue vocal studies in the U.S.\u003c/p>\n\u003cp>\"I think I sort of trained myself to deal with that feeling of being wrong,\" Franks said. \"Because I knew I had to, to be going on in my career and to do any auditions for anything. I had this female voice, and that was what people were expecting to see. And I cleaned up pretty well back then.\"\u003c/p>\n\u003cp>He felt fairly comfortable with continuing on in this way for a long time.\u003c/p>\n\u003cp>[aside postID='news_11773706,news_11773678,news_11773585' label='Living Authentically: Life As A Transgender Opera Singer']\u003c/p>\n\u003cp>\"If I could have stayed just as I was and done all my auditions in a suit and tie, that would have been the best of all possible worlds,\" Franks said.\u003c/p>\n\u003cp>But as he headed into his 40s, Franks experienced a professional and personal crisis.\u003c/p>\n\u003cp>Due to irreconcilable differences with a conductor, Franks said he lost his most personally fulfilling and stable singing job, and he also broke up with his longtime partner. He started worrying about other people’s perceptions of his gender identity.\u003c/p>\n\u003cp>\"I found as I got older, I was more concerned with how other people [perceived me], if I told them about myself or they found out through other channels,\" Franks said. \"It bothered me that it would make people uncomfortable or upset people.\"\u003c/p>\n\u003cp>Franks had a couple of gender reassignment surgeries and started thinking about taking testosterone.\u003c/p>\n\u003cp>This was a long and hard decision.\u003c/p>\n\u003cp>When someone takes testosterone, it not only tends to make them hairier and increases their muscle mass, but it also lowers the voice.\u003c/p>\n\u003cp>\"The testosterone thickens the vocal fold,\" explained voice speech pathologist Sarah Schneider, who specializes in working with transgender singers at UCSF.\u003c/p>\n\u003cfigure id=\"attachment_11774327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/elliot-and-lucia-1.jpg\">\u003cimg class=\"wp-image-11774327 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/elliot-and-lucia-1-800x528.jpg\" alt=\"Elliot Franks (right) and fellow singer Lucia Lucas (left) in Tulsa, Oklahoma, in May 2019.\" width=\"800\" height=\"528\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/09/elliot-and-lucia-1-800x528.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/elliot-and-lucia-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/elliot-and-lucia-1-1020x673.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/elliot-and-lucia-1-1200x792.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/elliot-and-lucia-1-1920x1268.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/elliot-and-lucia-1.jpg 1934w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Elliot Franks (right) and fellow singer Lucia Lucas (left) in Tulsa, Oklahoma, in May 2019. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But learning a new lower-pitched way of speaking and singing often comes with enormous challenges. \"Some people describe it as feeling locked in,\" Schneider said. \"They're not quite sure how to navigate the lower voice.\"\u003c/p>\n\u003cp>Franks agonized about what taking male hormones might do to his beautiful soprano voice.\u003c/p>\n\u003cp>\"I often heard people talking to me about how moved they were about my performance,\" he said. \"How vocally I had moved them, but also dramatically. And I always took that as a great compliment.\"\u003c/p>\n\u003cp>But he figured he was aging out of his favorite opera roles anyway.\u003c/p>\n\u003cp>\"And I thought, well, you know, I'm never going to be a young man. That's gone,\" Franks said. \"But I can at least be a middle-aged, chubby guy, and maybe feel a little more comfortable in my own skin.\"\u003c/p>\n\u003cp>So six years ago, at the age of 50, Franks started taking testosterone.\u003c/p>\n\u003cp>Franks regrets not starting his hormone treatment earlier. He said his voice might have adapted more easily to the changes when his vocal cords were younger and more flexible.\u003c/p>\n\u003cp>He has largely withdrawn from professional singing.[pullquote align=\"right\" citation=\"Elliot Franks\"]\"I grieve not being able to participate in some of the groups that I participated in, because they are largely my family.\"[/pullquote]\u003c/p>\n\u003cp>Choral conductor Lamott said he understands Franks' decision, though it's hard.\u003c/p>\n\u003cp>\"On a personal level, I knew that this was what was in his heart; that who you are is much more important than what you can do,\" Lamott said. \"I did mourn the loss of that beautiful instrument, because it was really exceptional.\"\u003c/p>\n\u003cp>Franks also went through another radical shift.\u003c/p>\n\u003cp>These days, he makes his living not from singing, but rather from arranging funerals.\u003c/p>\n\u003cp>He quite likes his new job. Bespectacled, warm and smiley, Franks said he has a knack for cheering people up.\u003c/p>\n\u003cp>\"If I've got a grieving person and I can get them to smile, I feel like I'm doing something really good,\" Franks said. \"Because for a minute, for a second, they're out of the angst and the pain.\"\u003c/p>\n\u003cp>He's also dealing with his own feelings of grief around the loss of his voice and professional singing community.\u003c/p>\n\u003cp>\"I grieve the ease of singing,\" Franks said. \"I grieve not being able to participate in some of the groups that I participated in, because they are largely my family.\"\u003c/p>\n\u003cp>But lately, Franks' voice has been coming back. It's turning into a rich, emotional baritone.\u003c/p>\n\u003cp>\u003ciframe title=\"New Voices Bay Area Trans, Intersex and Genderqueer Chorus\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/UKDvRXo3Ayg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>He's taking singing lessons and is a member of \u003ca href=\"https://sfcmc.org/new-voices-bay-area-tigq-chorus/\">New Voices Bay Area\u003c/a>, a chorus for amateur trans, intersex and genderqueer singers.\u003c/p>\n\u003cp>\"The good thing about it is, no matter where one’s voice is in transition,\" Franks said, \"you can move to a part that you can sing most of.\"\u003c/p>\n\u003cp>He enjoys putting his many years of professional singing experience to good use, helping his fellow singers in the choir explore the uniqueness and beauty of their new voices.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"'More comfortable in my own skin': The former Bay Area professional singer shares his long journey toward finding his true voice.","status":"publish","parent":0,"modified":1568574500,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":50,"wordCount":1385},"headData":{"title":"Bay Area Soprano Elliot Franks Learns to Sing With a Whole New Baritone Voice | KQED","description":"'More comfortable in my own skin': The former Bay Area professional singer shares his long journey toward finding his true voice.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Bay Area Soprano Elliot Franks Learns to Sing With a Whole New Baritone Voice","datePublished":"2019-09-15T15:05:38.000Z","dateModified":"2019-09-15T19:08:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11773464 https://ww2.kqed.org/news/?p=11773464","disqusUrl":"https://ww2.kqed.org/news/2019/09/15/bay-area-soprano-elliot-franks-learns-to-sing-with-a-whole-new-baritone-voice/","disqusTitle":"Bay Area Soprano Elliot Franks Learns to Sing With a Whole New Baritone Voice","path":"/news/11773464/bay-area-soprano-elliot-franks-learns-to-sing-with-a-whole-new-baritone-voice","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this year, Elliot Franks appeared as a special guest at a transgender singing symposium in San Francisco. About 100 singers, voice coaches and academic researchers met for a day to share their experiences and advice.\u003c/p>\n\u003cp>Franks did something that day that took a lot of courage. He stood in front of all those voice experts while samples of his singing — recorded at various stages of his gender reassignment process — played over the speakers. His voice had changed over a period of two years or so, from ringing high and clear as a bell, to sounding low and croaky.\u003c/p>\n\u003cp>\"You feel sort of bad knowing that you did that to your voice, when your voice has been so good to you,\" Franks said.\u003c/p>\n\u003cp>In the 1990s and early 2000s, Franks was one of the San Francisco Bay Area’s go-to classical singers, making regular appearances with acclaimed ensembles, like the Philharmonia Baroque Orchestra & Chorale and the San Francisco Opera Chorus.\u003c/p>\n\u003cp>\"Elliot's voice was magnificent,\" said Philharmonia Chorale director Bruce Lamott, who worked with Franks for about a decade. \"He had a very agile voice with an extraordinary range.\"\u003c/p>\n\u003cp>Back then, Franks used his female birth name and sang traditional soprano and mezzo-soprano parts. But offstage, he always dressed in men’s attire and preferred to be addressed with masculine pronouns. This was in keeping with his lifelong belief that gender covers a wide spectrum.\u003c/p>\n\u003cp>\"To be forced to conform to one of two standard gender norms is to deny a person’s individuality, freedom of expression, personal identity and integrity,\" Franks said.\u003c/p>\n\u003cfigure id=\"attachment_11773575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11773575 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/Elliot-singing-at-the-trans-singing-symposium-800x413.png\" alt=\"Elliot Franks and his vocal coach Ruth Rainero present a session at the 2019 Transgender Singing Symposium in San Francisco.\" width=\"800\" height=\"413\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/09/Elliot-singing-at-the-trans-singing-symposium-800x413.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Elliot-singing-at-the-trans-singing-symposium-160x83.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Elliot-singing-at-the-trans-singing-symposium-1020x527.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Elliot-singing-at-the-trans-singing-symposium-1200x619.png 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Elliot-singing-at-the-trans-singing-symposium-1920x991.png 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Elliot-singing-at-the-trans-singing-symposium.png 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elliot Franks and his vocal coach, Ruth Rainero, present a session at Trans and Singing: A Symposium for Voice Teachers and Singers, in San Francisco in February 2019. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 56-year-old Richmond resident said he has felt this way since he was a kid growing up near Birmingham, England, in the 1970s.\u003c/p>\n\u003cp>As a teen whom others saw as a girl but who clearly felt differently about his own identity, Franks said he found the gender-neutral church choir dress code, with its baggy, tentlike robes, oddly liberating.\u003c/p>\n\u003cp>\"That was my refuge really,\" Franks said. \"To be in a situation where I could be myself, and at that point, sort of relatively genderless.\"\u003c/p>\n\u003cp>Franks watched the boys at school with envy, but couldn’t quite figure out why.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"\"I thought, well, you know, I'm never going to be a young man. That's gone. But I can at least be a middle-aged, chubby guy, and maybe feel a little more comfortable in my own skin.\"","name":"pullquote","attributes":{"named":{"align":"left","citation":"Elliot Franks","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"All the other boys would go out and play soccer,\" Franks said. \"And the girls, of which they seemed to lump me in with, had to stay in and do needlework.\"\u003c/p>\n\u003cp>A heavy silence hung over the singer’s formative years around questions of gender identity.\u003c/p>\n\u003cp>\"Back then there was just really no information,\" he said. \"So you sort of feel like you're the only person in the world that feels like that.\"\u003c/p>\n\u003cp>That feeling of isolation lingered long after Franks won a full ride to the Royal Northern College of Music, one of the most prestigious music colleges in the United Kingdom, and busted out of England in the late 1980s on a scholarship to pursue vocal studies in the U.S.\u003c/p>\n\u003cp>\"I think I sort of trained myself to deal with that feeling of being wrong,\" Franks said. \"Because I knew I had to, to be going on in my career and to do any auditions for anything. I had this female voice, and that was what people were expecting to see. And I cleaned up pretty well back then.\"\u003c/p>\n\u003cp>He felt fairly comfortable with continuing on in this way for a long time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11773706,news_11773678,news_11773585","label":"Living Authentically: Life As A Transgender Opera Singer "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"If I could have stayed just as I was and done all my auditions in a suit and tie, that would have been the best of all possible worlds,\" Franks said.\u003c/p>\n\u003cp>But as he headed into his 40s, Franks experienced a professional and personal crisis.\u003c/p>\n\u003cp>Due to irreconcilable differences with a conductor, Franks said he lost his most personally fulfilling and stable singing job, and he also broke up with his longtime partner. He started worrying about other people’s perceptions of his gender identity.\u003c/p>\n\u003cp>\"I found as I got older, I was more concerned with how other people [perceived me], if I told them about myself or they found out through other channels,\" Franks said. \"It bothered me that it would make people uncomfortable or upset people.\"\u003c/p>\n\u003cp>Franks had a couple of gender reassignment surgeries and started thinking about taking testosterone.\u003c/p>\n\u003cp>This was a long and hard decision.\u003c/p>\n\u003cp>When someone takes testosterone, it not only tends to make them hairier and increases their muscle mass, but it also lowers the voice.\u003c/p>\n\u003cp>\"The testosterone thickens the vocal fold,\" explained voice speech pathologist Sarah Schneider, who specializes in working with transgender singers at UCSF.\u003c/p>\n\u003cfigure id=\"attachment_11774327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/elliot-and-lucia-1.jpg\">\u003cimg class=\"wp-image-11774327 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/elliot-and-lucia-1-800x528.jpg\" alt=\"Elliot Franks (right) and fellow singer Lucia Lucas (left) in Tulsa, Oklahoma, in May 2019.\" width=\"800\" height=\"528\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/09/elliot-and-lucia-1-800x528.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/elliot-and-lucia-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/elliot-and-lucia-1-1020x673.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/elliot-and-lucia-1-1200x792.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/elliot-and-lucia-1-1920x1268.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/elliot-and-lucia-1.jpg 1934w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Elliot Franks (right) and fellow singer Lucia Lucas (left) in Tulsa, Oklahoma, in May 2019. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But learning a new lower-pitched way of speaking and singing often comes with enormous challenges. \"Some people describe it as feeling locked in,\" Schneider said. \"They're not quite sure how to navigate the lower voice.\"\u003c/p>\n\u003cp>Franks agonized about what taking male hormones might do to his beautiful soprano voice.\u003c/p>\n\u003cp>\"I often heard people talking to me about how moved they were about my performance,\" he said. \"How vocally I had moved them, but also dramatically. And I always took that as a great compliment.\"\u003c/p>\n\u003cp>But he figured he was aging out of his favorite opera roles anyway.\u003c/p>\n\u003cp>\"And I thought, well, you know, I'm never going to be a young man. That's gone,\" Franks said. \"But I can at least be a middle-aged, chubby guy, and maybe feel a little more comfortable in my own skin.\"\u003c/p>\n\u003cp>So six years ago, at the age of 50, Franks started taking testosterone.\u003c/p>\n\u003cp>Franks regrets not starting his hormone treatment earlier. He said his voice might have adapted more easily to the changes when his vocal cords were younger and more flexible.\u003c/p>\n\u003cp>He has largely withdrawn from professional singing.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"\"I grieve not being able to participate in some of the groups that I participated in, because they are largely my family.\"","name":"pullquote","attributes":{"named":{"align":"right","citation":"Elliot Franks","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Choral conductor Lamott said he understands Franks' decision, though it's hard.\u003c/p>\n\u003cp>\"On a personal level, I knew that this was what was in his heart; that who you are is much more important than what you can do,\" Lamott said. \"I did mourn the loss of that beautiful instrument, because it was really exceptional.\"\u003c/p>\n\u003cp>Franks also went through another radical shift.\u003c/p>\n\u003cp>These days, he makes his living not from singing, but rather from arranging funerals.\u003c/p>\n\u003cp>He quite likes his new job. Bespectacled, warm and smiley, Franks said he has a knack for cheering people up.\u003c/p>\n\u003cp>\"If I've got a grieving person and I can get them to smile, I feel like I'm doing something really good,\" Franks said. \"Because for a minute, for a second, they're out of the angst and the pain.\"\u003c/p>\n\u003cp>He's also dealing with his own feelings of grief around the loss of his voice and professional singing community.\u003c/p>\n\u003cp>\"I grieve the ease of singing,\" Franks said. \"I grieve not being able to participate in some of the groups that I participated in, because they are largely my family.\"\u003c/p>\n\u003cp>But lately, Franks' voice has been coming back. It's turning into a rich, emotional baritone.\u003c/p>\n\u003cp>\u003ciframe title=\"New Voices Bay Area Trans, Intersex and Genderqueer Chorus\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/UKDvRXo3Ayg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>He's taking singing lessons and is a member of \u003ca href=\"https://sfcmc.org/new-voices-bay-area-tigq-chorus/\">New Voices Bay Area\u003c/a>, a chorus for amateur trans, intersex and genderqueer singers.\u003c/p>\n\u003cp>\"The good thing about it is, no matter where one’s voice is in transition,\" Franks said, \"you can move to a part that you can sing most of.\"\u003c/p>\n\u003cp>He enjoys putting his many years of professional singing experience to good use, helping his fellow singers in the choir explore the uniqueness and beauty of their new voices.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11773464/bay-area-soprano-elliot-franks-learns-to-sing-with-a-whole-new-baritone-voice","authors":["8608"],"programs":["news_72"],"categories":["news_223","news_8"],"tags":["news_19133","news_26634","news_21279","news_23059","news_2486"],"featImg":"news_11774316","label":"news_72"},"news_11773706":{"type":"posts","id":"news_11773706","meta":{"index":"posts_1591205157","site":"news","id":"11773706","score":null,"sort":[1568419260000]},"guestAuthors":[],"slug":"three-transgender-opera-singers-on-the-risks-they-took-to-live-authentically","title":"Three Transgender Opera Singers on the Risks They Took to Live Authentically","publishDate":1568419260,"format":"audio","headTitle":"The California Report | KQED News","labelTerm":{},"content":"\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The human voice is ultrasensitive.\u003c/p>\n\u003cp>Even a minor head cold or a small amount of stress can make you feel like there’s a car alarm going off in your throat.\u003c/p>\n\u003cp>So if the human voice is responsive to even tiny amounts of change, the shift for someone undergoing something as massive as gender reassignment can be nothing short of cataclysmic.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/11773464/bay-area-soprano-elliot-franks-learns-to-sing-with-a-whole-new-baritone-voice\" target=\"_blank\" rel=\"noopener noreferrer\">Elliot Franks\u003c/a>, \u003ca href=\"https://www.kqed.org/news/11773585/sacramento-opera-star-lucia-lucas-pushes-industry-boundaries-and-beyond\" target=\"_blank\" rel=\"noopener noreferrer\">Lucia Lucas\u003c/a> and \u003ca href=\"https://www.kqed.org/news/11773678/singer-breanna-sinclaire-moves-past-homelessness-and-abuse-in-pursuit-of-operatic-stardom\" target=\"_blank\" rel=\"noopener noreferrer\">Breanna Sinclairé\u003c/a> are three California opera singers who all happen to be transgender.\u003c/p>\n\u003cp>They have taken enormous risks to live their most authentic lives.\u003c/p>\n\u003cp>[pullquote align=\"left\" citation=\"Lucia Lucas\"]\"Nobody is fired for being trans. They’re fired for being, you know, 90 seconds late, or not complying with the dress code regulations.\"[/pullquote]\u003c/p>\n\u003cp>And they’ve navigated one of the most competitive and rigid industries — an industry that has been slow to evolve with the times.\u003c/p>\n\u003cp>Opera has a long history of gender play, with women performing young male roles on stage for hundreds of years.\u003c/p>\n\u003cp>Yet this rarefied world, with its strict casting codes and ridiculously high barriers to entry, is probably one of the most cloistered industries around.\u003c/p>\n\u003cp>\"Opera is still a very gendered profession,\" said Franks, who sang both soprano and mezzo-soprano roles as a professional in the San Francisco Bay Area but now sings in the baritone range. \"They want to put you in a box.\"\u003c/p>\n\u003cp>According to the \u003ca href=\"https://transequality.org/issues/employment\" target=\"_blank\" rel=\"noopener noreferrer\">research\u003c/a> by the National Center for Transgender Equality, one in four transgender people have lost a job due to bias.\u003c/p>\n\u003cp>It's hard for anyone to break through and make a living as an opera singer, much less a person who doesn't fit in with the industry's mostly rigid gender codes when it comes to casting.\u003c/p>\n\u003cp>[aside postID='news_11773678,news_11773464,news_11773585' label='Living Authentically: Life As A Transgender Opera Singer']\u003c/p>\n\u003cp>Nevertheless, Sacramento-born-and-raised baritone Lucas, who decided to keep singing with her booming, low-voice type after her physical transition rather than trying to retrain her voice to sing soprano or mezzo roles, is rising to the very top of her profession.\u003c/p>\n\u003cp>In May, she became the first trans singer to perform a lead role in a classic operatic work in the U.S. when she starred in \"Don Giovanni\" with the Tulsa Opera in Oklahoma.\u003c/p>\n\u003cp>In October, she will play a lead role with the English National Opera in London.\u003c/p>\n\u003cp>Yet Lucas said she often dons fake facial hair and standard menswear for auditions to prove she can play roles that normally go to cisgender male performers.\u003c/p>\n\u003cp>\"A lot of people are really confused because they have 'Ms. Lucia Lucas' on their paperwork as a baritone,\" Lucas said. \"But I'm presenting with a beard in masculine attire.\"\u003c/p>\n\u003cfigure id=\"attachment_11773609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/Lucia-Lucas-Masculine-Stage-Persona-Johannes-Kaplan.jpg\">\u003cimg class=\"size-medium wp-image-11773609\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/Lucia-Lucas-Masculine-Stage-Persona-Johannes-Kaplan-800x800.jpg\" alt=\"Lucia Lucas' masculine stage persona\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/09/Lucia-Lucas-Masculine-Stage-Persona-Johannes-Kaplan-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Lucia-Lucas-Masculine-Stage-Persona-Johannes-Kaplan-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Lucia-Lucas-Masculine-Stage-Persona-Johannes-Kaplan-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Lucia-Lucas-Masculine-Stage-Persona-Johannes-Kaplan-1200x1200.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Lucia-Lucas-Masculine-Stage-Persona-Johannes-Kaplan-1472x1472.jpg 1472w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Lucia-Lucas-Masculine-Stage-Persona-Johannes-Kaplan-1104x1104.jpg 1104w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Lucia-Lucas-Masculine-Stage-Persona-Johannes-Kaplan-912x912.jpg 912w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Lucia-Lucas-Masculine-Stage-Persona-Johannes-Kaplan-550x550.jpg 550w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Lucia-Lucas-Masculine-Stage-Persona-Johannes-Kaplan-470x470.jpg 470w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Lucia-Lucas-Masculine-Stage-Persona-Johannes-Kaplan.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lucia Lucas' masculine stage persona. \u003ccite>(Johannes Kaplan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hormones & the Human Voice\u003c/h3>\n\u003cp>When it comes to perceptions around gender transition, most people tend to focus on external physical changes.\u003c/p>\n\u003cp>But taking the male hormone testosterone doesn't only tend to increase body hair and muscle mass. It also lowers the voice.\u003c/p>\n\u003cp>\"Testosterone thickens the vocal folds,\" said UCSF voice speech pathologist Sarah Schneider, who specializes in working with transgender singers.\u003c/p>\n\u003cp>But learning a new lower-pitched way of speaking and singing often comes with enormous challenges.\u003c/p>\n\u003cp>\"Some people describe it as feeling locked in,\" Schneider said. \"They're not quite sure how to navigate the lower voice.\"\u003c/p>\n\u003cp>Schneider said surgery for lowering vocal pitch exists. But few people go that route, because of the lowering effect of testosterone.\u003c/p>\n\u003cp>\u003ciframe title=\"What happens to the human voice while undergoing gender transition?\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/bdiUp51g-3Y?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>It’s a completely different story for people taking estrogen.\u003c/p>\n\u003cp>\"For trans females, taking female hormones does not actually change the voice,\" Schneider said.\u003c/p>\n\u003cp>She said surgery on the vocal folds is a possibility for people who want to sing higher. But it’s a major risk.\u003c/p>\n\u003cp>\"The outcomes are not always predictable,\" she said. \"And we don't know if it's going to impact that accessibility to the upper range.\"\u003c/p>\n\u003cp>It's possible to develop a higher speaking and singing register with careful training and consistent practice.\u003c/p>\n\u003cp>Schneider said the best way to keep the voice healthy through the gender reassignment process is to keep using it — without pushing too hard.\u003c/p>\n\u003cp>\"It's just a matter of looking at it like training,\" she said. \"We work on these different muscle patterns so they feel accessible.\"\u003c/p>\n\u003cfigure id=\"attachment_11773601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/Breanna-at-As-game-2015.png\">\u003cimg class=\"size-medium wp-image-11773601\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/Breanna-at-As-game-2015-800x450.png\" alt=\"Opera singer Breanna Sinclaire is the first trans vocalist ever to have sung the national anthem at a professional sports event. This was in 2015 at an Oakland As vs San Diego Padres game.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/09/Breanna-at-As-game-2015-800x450.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Breanna-at-As-game-2015-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Breanna-at-As-game-2015-1020x573.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Breanna-at-As-game-2015-1200x674.png 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Breanna-at-As-game-2015.png 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Opera singer Breanna Sinclaire is the first trans vocalist ever to have sung the national anthem at a professional sports event. This was in 2015 at an Oakland As vs San Diego Padres game. \u003ccite>(Major League Baseball)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Opera Companies Begin to Address Diversity\u003c/h3>\n\u003cp>Opera's diversity and inclusivity challenge extends well beyond transgender singers. As an African American, Bay Area soprano Breanna Sinclairé is especially troubled by this reality.\u003c/p>\n\u003cp>\"In the classical world, there are still other issues that we have to deal with first before we get to the transes, because there is a history of racial discrimination,\" said Sinclairé, who abandoned the tenor range she was mostly forced to sing in while growing up, and has focused on extending her voice upward as a soprano. \"It’s not a diverse genre of music. And I don't see many African Americans or many Asian or Latino women playing lead roles.\"[pullquote align=\"right\" citation=\"Breanna Sinclairé\"]\"In the classical world, there are still other issues that we have to deal with first before we get to the transes, because there is a history of racial discrimination.\"[/pullquote]\u003c/p>\n\u003cp>Opera companies are very slowly starting to address these issues. For example, the San Francisco Opera just launched a new \u003ca href=\"https://sfopera.com/about-us/press-room/press-releases/Dpt-of-DEC/\" target=\"_blank\" rel=\"noopener noreferrer\">Department of Diversity, Equity and Community\u003c/a>.\u003c/p>\n\u003cp>Most of its efforts are currently geared toward audience outreach. But director general Matthew Shilvock hopes the success of singers like Lucas will pave the way for change on the production side.\u003c/p>\n\u003cp>“The potential doors that this is now opening for trans singers is a very exciting step forward,” Shilvock said of Lucas' U.S. debut as Don Giovanni. \"If the voice is right for the role and right for the house, I would gladly hire that person.”\u003c/p>\n\u003cp>Franks, Lucas and Sinclairé don't necessarily consider themselves activists. But each in his or her own way is working to bring about change.\u003c/p>\n\u003cp>For example, in a recent speech she gave, Lucas said she didn’t once use terms like trans, gay, lesbian or queer.\u003c/p>\n\u003cp>\"Because I wanted to make it an inclusive speech and not an exclusive speech,\" Lucas said. \"When we support each other it's better for everybody.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Elliot Franks, Lucia Lucas and Breanna Sinclairé have taken enormous risks to live their most authentic lives. And they’ve navigated an industry that has been slow to evolve with the times. ","status":"publish","parent":0,"modified":1594420972,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":43,"wordCount":1130},"headData":{"title":"Three Transgender Opera Singers on the Risks They Took to Live Authentically | KQED","description":"Elliot Franks, Lucia Lucas and Breanna Sinclairé have taken enormous risks to live their most authentic lives. And they’ve navigated an industry that has been slow to evolve with the times. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Three Transgender Opera Singers on the Risks They Took to Live Authentically","datePublished":"2019-09-14T00:01:00.000Z","dateModified":"2020-07-10T22:42:52.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11773706 https://ww2.kqed.org/news/?p=11773706","disqusUrl":"https://ww2.kqed.org/news/2019/09/13/three-transgender-opera-singers-on-the-risks-they-took-to-live-authentically/","disqusTitle":"Three Transgender Opera Singers on the Risks They Took to Live Authentically","source":"The California Report Magazine","audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2019/09/TCRMAGTRANSOPERA.mp3","audioTrackLength":1686,"templateType":"standard","featuredImageType":"standard","path":"/news/11773706/three-transgender-opera-singers-on-the-risks-they-took-to-live-authentically","audioDuration":1721000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The human voice is ultrasensitive.\u003c/p>\n\u003cp>Even a minor head cold or a small amount of stress can make you feel like there’s a car alarm going off in your throat.\u003c/p>\n\u003cp>So if the human voice is responsive to even tiny amounts of change, the shift for someone undergoing something as massive as gender reassignment can be nothing short of cataclysmic.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/11773464/bay-area-soprano-elliot-franks-learns-to-sing-with-a-whole-new-baritone-voice\" target=\"_blank\" rel=\"noopener noreferrer\">Elliot Franks\u003c/a>, \u003ca href=\"https://www.kqed.org/news/11773585/sacramento-opera-star-lucia-lucas-pushes-industry-boundaries-and-beyond\" target=\"_blank\" rel=\"noopener noreferrer\">Lucia Lucas\u003c/a> and \u003ca href=\"https://www.kqed.org/news/11773678/singer-breanna-sinclaire-moves-past-homelessness-and-abuse-in-pursuit-of-operatic-stardom\" target=\"_blank\" rel=\"noopener noreferrer\">Breanna Sinclairé\u003c/a> are three California opera singers who all happen to be transgender.\u003c/p>\n\u003cp>They have taken enormous risks to live their most authentic lives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"\"Nobody is fired for being trans. They’re fired for being, you know, 90 seconds late, or not complying with the dress code regulations.\"","name":"pullquote","attributes":{"named":{"align":"left","citation":"Lucia Lucas","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And they’ve navigated one of the most competitive and rigid industries — an industry that has been slow to evolve with the times.\u003c/p>\n\u003cp>Opera has a long history of gender play, with women performing young male roles on stage for hundreds of years.\u003c/p>\n\u003cp>Yet this rarefied world, with its strict casting codes and ridiculously high barriers to entry, is probably one of the most cloistered industries around.\u003c/p>\n\u003cp>\"Opera is still a very gendered profession,\" said Franks, who sang both soprano and mezzo-soprano roles as a professional in the San Francisco Bay Area but now sings in the baritone range. \"They want to put you in a box.\"\u003c/p>\n\u003cp>According to the \u003ca href=\"https://transequality.org/issues/employment\" target=\"_blank\" rel=\"noopener noreferrer\">research\u003c/a> by the National Center for Transgender Equality, one in four transgender people have lost a job due to bias.\u003c/p>\n\u003cp>It's hard for anyone to break through and make a living as an opera singer, much less a person who doesn't fit in with the industry's mostly rigid gender codes when it comes to casting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11773678,news_11773464,news_11773585","label":"Living Authentically: Life As A Transgender Opera Singer "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nevertheless, Sacramento-born-and-raised baritone Lucas, who decided to keep singing with her booming, low-voice type after her physical transition rather than trying to retrain her voice to sing soprano or mezzo roles, is rising to the very top of her profession.\u003c/p>\n\u003cp>In May, she became the first trans singer to perform a lead role in a classic operatic work in the U.S. when she starred in \"Don Giovanni\" with the Tulsa Opera in Oklahoma.\u003c/p>\n\u003cp>In October, she will play a lead role with the English National Opera in London.\u003c/p>\n\u003cp>Yet Lucas said she often dons fake facial hair and standard menswear for auditions to prove she can play roles that normally go to cisgender male performers.\u003c/p>\n\u003cp>\"A lot of people are really confused because they have 'Ms. Lucia Lucas' on their paperwork as a baritone,\" Lucas said. \"But I'm presenting with a beard in masculine attire.\"\u003c/p>\n\u003cfigure id=\"attachment_11773609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/Lucia-Lucas-Masculine-Stage-Persona-Johannes-Kaplan.jpg\">\u003cimg class=\"size-medium wp-image-11773609\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/Lucia-Lucas-Masculine-Stage-Persona-Johannes-Kaplan-800x800.jpg\" alt=\"Lucia Lucas' masculine stage persona\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/09/Lucia-Lucas-Masculine-Stage-Persona-Johannes-Kaplan-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Lucia-Lucas-Masculine-Stage-Persona-Johannes-Kaplan-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Lucia-Lucas-Masculine-Stage-Persona-Johannes-Kaplan-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Lucia-Lucas-Masculine-Stage-Persona-Johannes-Kaplan-1200x1200.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Lucia-Lucas-Masculine-Stage-Persona-Johannes-Kaplan-1472x1472.jpg 1472w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Lucia-Lucas-Masculine-Stage-Persona-Johannes-Kaplan-1104x1104.jpg 1104w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Lucia-Lucas-Masculine-Stage-Persona-Johannes-Kaplan-912x912.jpg 912w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Lucia-Lucas-Masculine-Stage-Persona-Johannes-Kaplan-550x550.jpg 550w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Lucia-Lucas-Masculine-Stage-Persona-Johannes-Kaplan-470x470.jpg 470w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Lucia-Lucas-Masculine-Stage-Persona-Johannes-Kaplan.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lucia Lucas' masculine stage persona. \u003ccite>(Johannes Kaplan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hormones & the Human Voice\u003c/h3>\n\u003cp>When it comes to perceptions around gender transition, most people tend to focus on external physical changes.\u003c/p>\n\u003cp>But taking the male hormone testosterone doesn't only tend to increase body hair and muscle mass. It also lowers the voice.\u003c/p>\n\u003cp>\"Testosterone thickens the vocal folds,\" said UCSF voice speech pathologist Sarah Schneider, who specializes in working with transgender singers.\u003c/p>\n\u003cp>But learning a new lower-pitched way of speaking and singing often comes with enormous challenges.\u003c/p>\n\u003cp>\"Some people describe it as feeling locked in,\" Schneider said. \"They're not quite sure how to navigate the lower voice.\"\u003c/p>\n\u003cp>Schneider said surgery for lowering vocal pitch exists. But few people go that route, because of the lowering effect of testosterone.\u003c/p>\n\u003cp>\u003ciframe title=\"What happens to the human voice while undergoing gender transition?\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/bdiUp51g-3Y?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>It’s a completely different story for people taking estrogen.\u003c/p>\n\u003cp>\"For trans females, taking female hormones does not actually change the voice,\" Schneider said.\u003c/p>\n\u003cp>She said surgery on the vocal folds is a possibility for people who want to sing higher. But it’s a major risk.\u003c/p>\n\u003cp>\"The outcomes are not always predictable,\" she said. \"And we don't know if it's going to impact that accessibility to the upper range.\"\u003c/p>\n\u003cp>It's possible to develop a higher speaking and singing register with careful training and consistent practice.\u003c/p>\n\u003cp>Schneider said the best way to keep the voice healthy through the gender reassignment process is to keep using it — without pushing too hard.\u003c/p>\n\u003cp>\"It's just a matter of looking at it like training,\" she said. \"We work on these different muscle patterns so they feel accessible.\"\u003c/p>\n\u003cfigure id=\"attachment_11773601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/Breanna-at-As-game-2015.png\">\u003cimg class=\"size-medium wp-image-11773601\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/09/Breanna-at-As-game-2015-800x450.png\" alt=\"Opera singer Breanna Sinclaire is the first trans vocalist ever to have sung the national anthem at a professional sports event. This was in 2015 at an Oakland As vs San Diego Padres game.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/09/Breanna-at-As-game-2015-800x450.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Breanna-at-As-game-2015-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Breanna-at-As-game-2015-1020x573.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Breanna-at-As-game-2015-1200x674.png 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/09/Breanna-at-As-game-2015.png 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Opera singer Breanna Sinclaire is the first trans vocalist ever to have sung the national anthem at a professional sports event. This was in 2015 at an Oakland As vs San Diego Padres game. \u003ccite>(Major League Baseball)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Opera Companies Begin to Address Diversity\u003c/h3>\n\u003cp>Opera's diversity and inclusivity challenge extends well beyond transgender singers. As an African American, Bay Area soprano Breanna Sinclairé is especially troubled by this reality.\u003c/p>\n\u003cp>\"In the classical world, there are still other issues that we have to deal with first before we get to the transes, because there is a history of racial discrimination,\" said Sinclairé, who abandoned the tenor range she was mostly forced to sing in while growing up, and has focused on extending her voice upward as a soprano. \"It’s not a diverse genre of music. And I don't see many African Americans or many Asian or Latino women playing lead roles.\"\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"\"In the classical world, there are still other issues that we have to deal with first before we get to the transes, because there is a history of racial discrimination.\"","name":"pullquote","attributes":{"named":{"align":"right","citation":"Breanna Sinclairé","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Opera companies are very slowly starting to address these issues. For example, the San Francisco Opera just launched a new \u003ca href=\"https://sfopera.com/about-us/press-room/press-releases/Dpt-of-DEC/\" target=\"_blank\" rel=\"noopener noreferrer\">Department of Diversity, Equity and Community\u003c/a>.\u003c/p>\n\u003cp>Most of its efforts are currently geared toward audience outreach. But director general Matthew Shilvock hopes the success of singers like Lucas will pave the way for change on the production side.\u003c/p>\n\u003cp>“The potential doors that this is now opening for trans singers is a very exciting step forward,” Shilvock said of Lucas' U.S. debut as Don Giovanni. \"If the voice is right for the role and right for the house, I would gladly hire that person.”\u003c/p>\n\u003cp>Franks, Lucas and Sinclairé don't necessarily consider themselves activists. But each in his or her own way is working to bring about change.\u003c/p>\n\u003cp>For example, in a recent speech she gave, Lucas said she didn’t once use terms like trans, gay, lesbian or queer.\u003c/p>\n\u003cp>\"Because I wanted to make it an inclusive speech and not an exclusive speech,\" Lucas said. \"When we support each other it's better for everybody.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11773706/three-transgender-opera-singers-on-the-risks-they-took-to-live-authentically","authors":["8608"],"programs":["news_72"],"categories":["news_223","news_8"],"tags":["news_19133","news_26634","news_19542","news_21279","news_4514","news_21268","news_22018","news_28233","news_17041","news_2486"],"featImg":"news_11774230","label":"source_news_11773706"},"news_11631543":{"type":"posts","id":"news_11631543","meta":{"index":"posts_1591205157","site":"news","id":"11631543","score":null,"sort":[1510973061000]},"guestAuthors":[],"slug":"legendary-tenor-marks-50-years-as-la-opera-pioneer-and-leader","title":"A Legendary Tenor Marks 50 Years as LA Opera Pioneer and Leader","publishDate":1510973061,"format":"audio","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>It's not your typical opera setting. The auditorium is small. The audience didn’t pay a dime to get in. And the performers have limited stage experience -- except one.\u003c/p>\n\u003cp>It was a rare opportunity to see \u003ca href=\"http://www.placidodomingo.com/\" target=\"_blank\" rel=\"noopener\">Plácido Domingo\u003c/a>, \u003cem>teacher\u003c/em>, leading a master class at UCLA this past weekend with four young singers including Eric Levintow, a 25-year-old tenor from San Francisco.\u003c/p>\n\u003cp>After listening to Levintow performing the aria \"Una Furtiva Lagrima,\" from \u003ca href=\"https://en.wikipedia.org/wiki/Gaetano_Donizetti\">Gaetano Donizetti\u003c/a>’s \"L'Elisir d'Amore,\" Domingo tells him to sing it again. This time he gently interrupts Levintow throughout to discuss character motivation and phrasing. He corrects breathing and posture.\u003c/p>\n\u003cp>Domingo joined UCLA as an adjunct professor in 1994. The master class performance was part of a daylong event honoring his dedication to music education and the arts in Los Angeles -- a celebration that included \u003ca href=\"http://newsroom.ucla.edu/stories/opera-legend-placido-domingo-receives-ucla-medal\" rel=\"noopener\" target=\"_blank\">awarding him\u003c/a> the university’s highest honor: the UCLA Medal.\u003c/p>\n\u003cfigure id=\"attachment_11631566\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_3210.jpg\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_3210-1020x680.jpg\" alt=\"\" width=\"640\" height=\"427\" class=\"size-large wp-image-11631566\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3210-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3210-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3210-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3210.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3210-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3210-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3210-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3210-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3210-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Plácido Domingo with tenor Eric Levintow at a recent master class performance at UCLA. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I first came to Los Angeles 50 years ago, I never could’ve imagined that this city would someday become a second home,” he said in prepared remarks. “The world was just beginning to open up for me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Domingo first set foot on a Los Angeles opera stage in 1967, playing the king \u003ca href=\"http://www.nytimes.com/1964/08/09/ginasteras-don-rodrigo.html\" target=\"_blank\" rel=\"noopener\">Don Rodrigo\u003c/a> in composer Alberto Ginastera’s jagged, modern opera of the same name.\u003c/p>\n\u003cp>“It was my first visit to Los Angeles and when you’re 26 years [old] and you’re coming to Hollywood, it’s very exciting,” he said.\u003c/p>\n\u003cp>Following the medal ceremony, master class and a private reception, Domingo settled into a backstage green room with his wife and opera stage director Marta close by, just as she has been for the past 55 years.\u003c/p>\n\u003cp>“And then I was involved in really forming \u003ca href=\"https://www.laopera.org/\">LA Opera\u003c/a>,” said Domingo. “I [got] the idea that I should move the people to have an opera company. And we did, and here we are.”\u003c/p>\n\u003cp>Before Domingo, opera in Los Angeles battled for a place in the spotlight. Performances tended to be upstaged by the more established Los Angeles Philharmonic. There was an over-reliance on visiting opera companies. But LA Opera CEO Christopher Koelsch says Domingo tapped into a hunger -- and rallied a group of local and loyal benefactors who’ve helped grow and sustain LA Opera for over 30 years.\u003c/p>\n\u003cfigure id=\"attachment_11631568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11631568\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_7468-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_7468-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_7468-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_7468-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_7468.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_7468-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_7468-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_7468-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_7468-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_7468-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plácido and Marta Domingo at a private reception after he received the UCLA Medal on Nov 12. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I don't think it's going too far to say that opera in Los Angeles would not exist without his leadership,” Koelsch said. “I think in the end he’s an evangelist for the art form. I think he saw an incredible opportunity here, a growing density of culture.”\u003c/p>\n\u003cp>While LA Opera took flight in the mid-1980s, Domingo was at his zenith, in demand as both a performer and a conductor across the globe.\u003c/p>\n\u003cp>But as he cut back on performing, his LA Opera duties expanded, from artistic consultant to general director following \u003ca href=\"http://articles.latimes.com/2002/jan/04/local/me-20173\" rel=\"noopener\" target=\"_blank\">the passing\u003c/a> of founding director Peter Hemmings 15 years ago. \u003c/p>\n\u003cp>“I would love very much that the company can grow at the turn of the decade,” said Domingo. “Where we are now about six or seven productions [per season], my dream would be that we can have like eight productions.”\u003c/p>\n\u003cp>LA Opera dialed back on main stage productions during the global economic crisis. But under Domingo’s leadership, the company also launched a program to showcase new, \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-cm-la-opera-persona-review-20171111-story.html\" target=\"_blank\" rel=\"noopener\">more experimental works\u003c/a> at smaller venues through its Off Grand initiative.\u003c/p>\n\u003cp>“There are still things he wants to accomplish and I have so much respect for that idea of a quest,” Koelsch said. “That’s an incredible energy to organize an opera house around. It pushes the entire entity to try and reach that goal.”\u003c/p>\n\u003cp>This weekend, Domingo wraps up a monthlong engagement at LA Opera playing, as he did 50 years ago, a king. This time however it’s the aging king who descends into madness at the heart of \u003ca href=\"https://www.laopera.org/season/1718-Season/Nabucco/\" target=\"_blank\" rel=\"noopener\">Giuseppe Verdi’s \"Nabucco.\"\u003c/a>\u003c/p>\n\u003cp>It’s an intensely physical role that has the 76-year-old tenor falling to his knees, getting yanked around by henchmen and delivering one aria while sprawled on his belly.\u003c/p>\n\u003cp>“One is tempted to say that this guy has a bargain with some really important supernatural beings,” laughs \u003ca href=\"https://www.music.ucla.edu/kazaras-peter\" target=\"_blank\" rel=\"noopener\">Peter Kazaras, \u003c/a>the director of Opera UCLA who first saw Domingo on stage in the late 1960s.\u003c/p>\n\u003cfigure id=\"attachment_11631581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11631581\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/nab_2497p-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/nab_2497p-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/nab_2497p-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/nab_2497p-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/nab_2497p.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/nab_2497p-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/nab_2497p-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/nab_2497p-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/nab_2497p-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/nab_2497p-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plácido Domingo in L.A. Opera’s 2017 production of Giuseppe Verdi’s ‘Nabucco’ \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Most people at his age, they physically cannot do it. The apparatus has given out,” Kazaras said. “He’s like a pitcher who is still pitching at the age of 50. So it seems clear that he’ll go for as long as he wants to go.”\u003c/p>\n\u003cp>“Music is my life, opera is my life,” Domingo said softly, his voice quavering a bit during his comments at UCLA. “And I feel blessed to have been given a gift that I can share with other people, and that I can use to bring joy into their lives.”\u003c/p>\n\u003cfigure id=\"attachment_11631584\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11631584\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_3196-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3196-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3196-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3196-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3196.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3196-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3196-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3196-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3196-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3196-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plácido Domingo delivers remarks after receiving the UCLA Medal on Nov 12. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite some recent health setbacks, Domingo continues to perform and conduct around the world, though his main-stage opera performances are getting further and further apart.\u003c/p>\n\u003cp>But Domingo confirms that he intends to perform in the yet to be announced 2018-2019 LA Opera season.\u003c/p>\n\u003cp>“Surely if I am in a good voice and if I am in good health. And if the planet is still here, then yes,” he laughed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Plácido Domingo closes out the LA Opera season this weekend with a 50th anniversary tribute concert and one final performance of Verdi’s \"Nabucco.\"\u003c/p>\n\n","blocks":[],"excerpt":"Plácido Domingo first appeared on a Los Angeles stage in 1967 -- and became a moving force in creating the city's celebrated company.","status":"publish","parent":0,"modified":1511128702,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1051},"headData":{"title":"A Legendary Tenor Marks 50 Years as LA Opera Pioneer and Leader | KQED","description":"Plácido Domingo first appeared on a Los Angeles stage in 1967 -- and became a moving force in creating the city's celebrated company.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"A Legendary Tenor Marks 50 Years as LA Opera Pioneer and Leader","datePublished":"2017-11-18T02:44:21.000Z","dateModified":"2017-11-19T21:58:22.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11631543 https://ww2.kqed.org/news/?p=11631543","disqusUrl":"https://ww2.kqed.org/news/2017/11/17/legendary-tenor-marks-50-years-as-la-opera-pioneer-and-leader/","disqusTitle":"A Legendary Tenor Marks 50 Years as LA Opera Pioneer and Leader","audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2017/11/TCRMagPlacidoDomingo1.mp3","path":"/news/11631543/legendary-tenor-marks-50-years-as-la-opera-pioneer-and-leader","audioDuration":385000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's not your typical opera setting. The auditorium is small. The audience didn’t pay a dime to get in. And the performers have limited stage experience -- except one.\u003c/p>\n\u003cp>It was a rare opportunity to see \u003ca href=\"http://www.placidodomingo.com/\" target=\"_blank\" rel=\"noopener\">Plácido Domingo\u003c/a>, \u003cem>teacher\u003c/em>, leading a master class at UCLA this past weekend with four young singers including Eric Levintow, a 25-year-old tenor from San Francisco.\u003c/p>\n\u003cp>After listening to Levintow performing the aria \"Una Furtiva Lagrima,\" from \u003ca href=\"https://en.wikipedia.org/wiki/Gaetano_Donizetti\">Gaetano Donizetti\u003c/a>’s \"L'Elisir d'Amore,\" Domingo tells him to sing it again. This time he gently interrupts Levintow throughout to discuss character motivation and phrasing. He corrects breathing and posture.\u003c/p>\n\u003cp>Domingo joined UCLA as an adjunct professor in 1994. The master class performance was part of a daylong event honoring his dedication to music education and the arts in Los Angeles -- a celebration that included \u003ca href=\"http://newsroom.ucla.edu/stories/opera-legend-placido-domingo-receives-ucla-medal\" rel=\"noopener\" target=\"_blank\">awarding him\u003c/a> the university’s highest honor: the UCLA Medal.\u003c/p>\n\u003cfigure id=\"attachment_11631566\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_3210.jpg\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_3210-1020x680.jpg\" alt=\"\" width=\"640\" height=\"427\" class=\"size-large wp-image-11631566\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3210-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3210-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3210-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3210.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3210-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3210-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3210-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3210-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3210-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Plácido Domingo with tenor Eric Levintow at a recent master class performance at UCLA. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I first came to Los Angeles 50 years ago, I never could’ve imagined that this city would someday become a second home,” he said in prepared remarks. “The world was just beginning to open up for me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Domingo first set foot on a Los Angeles opera stage in 1967, playing the king \u003ca href=\"http://www.nytimes.com/1964/08/09/ginasteras-don-rodrigo.html\" target=\"_blank\" rel=\"noopener\">Don Rodrigo\u003c/a> in composer Alberto Ginastera’s jagged, modern opera of the same name.\u003c/p>\n\u003cp>“It was my first visit to Los Angeles and when you’re 26 years [old] and you’re coming to Hollywood, it’s very exciting,” he said.\u003c/p>\n\u003cp>Following the medal ceremony, master class and a private reception, Domingo settled into a backstage green room with his wife and opera stage director Marta close by, just as she has been for the past 55 years.\u003c/p>\n\u003cp>“And then I was involved in really forming \u003ca href=\"https://www.laopera.org/\">LA Opera\u003c/a>,” said Domingo. “I [got] the idea that I should move the people to have an opera company. And we did, and here we are.”\u003c/p>\n\u003cp>Before Domingo, opera in Los Angeles battled for a place in the spotlight. Performances tended to be upstaged by the more established Los Angeles Philharmonic. There was an over-reliance on visiting opera companies. But LA Opera CEO Christopher Koelsch says Domingo tapped into a hunger -- and rallied a group of local and loyal benefactors who’ve helped grow and sustain LA Opera for over 30 years.\u003c/p>\n\u003cfigure id=\"attachment_11631568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11631568\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_7468-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_7468-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_7468-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_7468-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_7468.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_7468-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_7468-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_7468-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_7468-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_7468-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plácido and Marta Domingo at a private reception after he received the UCLA Medal on Nov 12. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I don't think it's going too far to say that opera in Los Angeles would not exist without his leadership,” Koelsch said. “I think in the end he’s an evangelist for the art form. I think he saw an incredible opportunity here, a growing density of culture.”\u003c/p>\n\u003cp>While LA Opera took flight in the mid-1980s, Domingo was at his zenith, in demand as both a performer and a conductor across the globe.\u003c/p>\n\u003cp>But as he cut back on performing, his LA Opera duties expanded, from artistic consultant to general director following \u003ca href=\"http://articles.latimes.com/2002/jan/04/local/me-20173\" rel=\"noopener\" target=\"_blank\">the passing\u003c/a> of founding director Peter Hemmings 15 years ago. \u003c/p>\n\u003cp>“I would love very much that the company can grow at the turn of the decade,” said Domingo. “Where we are now about six or seven productions [per season], my dream would be that we can have like eight productions.”\u003c/p>\n\u003cp>LA Opera dialed back on main stage productions during the global economic crisis. But under Domingo’s leadership, the company also launched a program to showcase new, \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-cm-la-opera-persona-review-20171111-story.html\" target=\"_blank\" rel=\"noopener\">more experimental works\u003c/a> at smaller venues through its Off Grand initiative.\u003c/p>\n\u003cp>“There are still things he wants to accomplish and I have so much respect for that idea of a quest,” Koelsch said. “That’s an incredible energy to organize an opera house around. It pushes the entire entity to try and reach that goal.”\u003c/p>\n\u003cp>This weekend, Domingo wraps up a monthlong engagement at LA Opera playing, as he did 50 years ago, a king. This time however it’s the aging king who descends into madness at the heart of \u003ca href=\"https://www.laopera.org/season/1718-Season/Nabucco/\" target=\"_blank\" rel=\"noopener\">Giuseppe Verdi’s \"Nabucco.\"\u003c/a>\u003c/p>\n\u003cp>It’s an intensely physical role that has the 76-year-old tenor falling to his knees, getting yanked around by henchmen and delivering one aria while sprawled on his belly.\u003c/p>\n\u003cp>“One is tempted to say that this guy has a bargain with some really important supernatural beings,” laughs \u003ca href=\"https://www.music.ucla.edu/kazaras-peter\" target=\"_blank\" rel=\"noopener\">Peter Kazaras, \u003c/a>the director of Opera UCLA who first saw Domingo on stage in the late 1960s.\u003c/p>\n\u003cfigure id=\"attachment_11631581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11631581\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/nab_2497p-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/nab_2497p-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/nab_2497p-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/nab_2497p-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/nab_2497p.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/nab_2497p-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/nab_2497p-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/nab_2497p-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/nab_2497p-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/nab_2497p-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plácido Domingo in L.A. Opera’s 2017 production of Giuseppe Verdi’s ‘Nabucco’ \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Most people at his age, they physically cannot do it. The apparatus has given out,” Kazaras said. “He’s like a pitcher who is still pitching at the age of 50. So it seems clear that he’ll go for as long as he wants to go.”\u003c/p>\n\u003cp>“Music is my life, opera is my life,” Domingo said softly, his voice quavering a bit during his comments at UCLA. “And I feel blessed to have been given a gift that I can share with other people, and that I can use to bring joy into their lives.”\u003c/p>\n\u003cfigure id=\"attachment_11631584\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11631584\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_3196-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3196-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3196-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3196-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3196.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3196-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3196-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3196-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3196-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/11/IMG_3196-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plácido Domingo delivers remarks after receiving the UCLA Medal on Nov 12. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite some recent health setbacks, Domingo continues to perform and conduct around the world, though his main-stage opera performances are getting further and further apart.\u003c/p>\n\u003cp>But Domingo confirms that he intends to perform in the yet to be announced 2018-2019 LA Opera season.\u003c/p>\n\u003cp>“Surely if I am in a good voice and if I am in good health. And if the planet is still here, then yes,” he laughed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Plácido Domingo closes out the LA Opera season this weekend with a 50th anniversary tribute concert and one final performance of Verdi’s \"Nabucco.\"\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11631543/legendary-tenor-marks-50-years-as-la-opera-pioneer-and-leader","authors":["2600"],"programs":["news_72"],"categories":["news_223","news_8"],"tags":["news_4","news_1425","news_21279","news_17286"],"featImg":"news_11632117","label":"news_72"},"news_11572666":{"type":"posts","id":"news_11572666","meta":{"index":"posts_1591205157","site":"news","id":"11572666","score":null,"sort":[1500660537000]},"guestAuthors":[],"slug":"silicon-valley-composer-transforms-steve-jobs-life-story-into-opera","title":"Silicon Valley Composer Transforms Steve Jobs' Life Story Into Opera","publishDate":1500660537,"format":"standard","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>Composer and electronica DJ \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mason Bates\u003c/a> is listening intently to the sound of a clicking computer key through speakers rigged up to a laptop in his Burlingame music studio.\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/RDnews/2017/07/20170724JobsOperaVeltman.mp3\" image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-1180x668.jpg\" title=\"Silicon Valley Composer Transforms Steve Jobs' Life Story Into Opera\" program=\"The California Report\"]\u003c/p>\n\u003cp>Bates admits the key clicks don’t sound like much on their own. But the opening music in his new opera, \u003ca href=\"https://www.santafeopera.org/operas-and-ticketing/the-revolution-of-steve-jobs\" target=\"_blank\" rel=\"noopener noreferrer\">\"The (R)evolution of Steve Jobs\"\u003c/a>, morphs out of those simple sounds.\u003c/p>\n\u003cp>\"When you take them together and then turn them into a rhythmic device, they create a bit of a tapestry,\" he says.\u003c/p>\n\u003cfigure id=\"attachment_11577470\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11577470\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-800x451.jpg\" alt=\"Composer Mason Bates in his home music studio in Burlingame.\" width=\"800\" height=\"451\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-800x451.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-1020x575.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-1920x1082.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-1180x665.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-960x541.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer Mason Bates in his home music studio in Burlingame. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bates often uses digital technology in his orchestral works. He's written major pieces for the likes of the San Francisco Symphony and the Kennedy Center in Washington, D.C., among other top-tier arts institutions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But this is his first full-length opera. And it matters to the 40-year-old composer that the pops, beeps and whizzes in his score come from genuine Apple gear. The key clicks are those of the Mac Plus computer, released in 1986.\u003c/p>\n\u003cp>\"While you might not be able to pick out exactly that’s a spinning hard drive of an Apple I, a Power Mac or Mac Plus key click, I think the accumulation of those sounds does lend an authenticity to the sound world,\" Bates says.\u003c/p>\n\u003cfigure id=\"attachment_43874\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-43874\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/10/Jobs_2003_rev3.jpg\" alt=\"Steve Jobs in 2003. Creative Commons.\" width=\"1920\" height=\"1755\">\u003cfigcaption class=\"wp-caption-text\">Steve Jobs in 2003. Creative Commons.\u003c/figcaption>\u003c/figure>\n\u003cp>But it takes more than an authentic sound world to make sense of Steve Jobs’ epic life story on stage; it's not for nothing that Walter Isaacson's well-known 2011 biography of Jobs (which Bates cites as a major source of inspiration for his opera) runs to more than 650 pages.\u003c/p>\n\u003cp>After all, the man ran three major companies -- Apple, NeXT and Pixar -- where he oversaw the release of many wildly successful products and movies like the iPhone and \u003ci>Toy Story\u003c/i>.\u003c/p>\n\u003cp>He also had a complicated personal life. Jobs was adopted as a baby; he refused to publicly acknowledge his first child, Lisa Brennan-Jobs, for years; and he died young in 2011 of cancer at the age of 56.\u003c/p>\n\u003cfigure id=\"attachment_11577472\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11577472\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-800x453.jpg\" alt=\"Edward Parks as Steve Jobs in ‘The (R)evolution of Steve Jobs’.\" width=\"800\" height=\"453\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-800x453.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-160x91.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-1020x577.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-1920x1086.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-1180x668.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-960x543.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-240x136.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-375x212.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edward Parks as Steve Jobs in ‘The (R)evolution of Steve Jobs’. \u003ccite>(Photo: Ken Howard Courtesy Santa Fe Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"He was such a complex individual, I cannot even imagine how you’d capture Steve’s life in an opera,\" says Andy Cunningham, who worked closely with Jobs as a publicist and witnessed the ups and down of his career -- and erratic temperament -- firsthand.\u003c/p>\n\u003cp>Cunningham says Jobs hired and fired her several times, and once demanded calla lilies for his hotel room at midnight. \"Steve was a very emotional person, and he was driven largely by his emotions,\" she says.\u003c/p>\n\u003cfigure id=\"attachment_11572896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11572896\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-800x451.jpg\" alt=\"Andy Cunningham worked as a publicist for Steve Jobs in his early years at Apple, NeXT and Pixar. She witnessed the ups and down of his career — and erratic temperament — first hand.\" width=\"800\" height=\"451\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-800x451.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-1020x575.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-1920x1082.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-1180x665.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-960x541.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andy Cunningham worked as a publicist for Steve Jobs in his early years at Apple, NeXT and Pixar. She witnessed the ups and down of his career — and erratic temperament — firsthand. \u003ccite>(Photo: Richard Michel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other individuals and organizations have also questioned the idea of transforming Jobs' story into opera.\u003c/p>\n\u003cp>For instance, the San Francisco Opera turned down the opportunity to host the world premiere when Bates and his early-stage collaborator on the project, UC Berkeley arts presenter Cal Performances, approached SF Opera's leadership in 2013. (Since the project was workshopped at the San Francisco Conservatory of Music in 2015 and 2016, SF Opera has come around, and will be producing the work in its 2019-2020 season.)\u003c/p>\n\u003cp>But Bates revels in the complexity and emotionality of his subject. \"His actual life is the stuff of opera,\" Bates says.\u003c/p>\n\u003cp>The opera careens backward and forward between episodes in Jobs’ life. In one scene he's launching the iPhone at MacWorld 2007. Then it’s 1974 and he’s dropping acid in an orchard with his girlfriend.\u003c/p>\n\u003cp>The work also weaves together intricate theme tunes for each individual character. There's jazzy saxophone music for Steve Wozniak, Jobs' partner in the early years of Apple. Gongs and prayer bowls illustrate Jobs’ spiritual adviser, Kobun Chino Otogawa.\u003c/p>\n\u003cfigure id=\"attachment_11577471\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11577471\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-800x453.jpg\" alt=\"Garrett Sorenson as Steve Wozniak and Edward Parks as Steve Jobs in ‘The (R)evolution of Steve Jobs’.\" width=\"800\" height=\"453\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-800x453.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-160x91.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-1020x578.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-1920x1088.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-1180x668.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-960x544.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-240x136.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-375x212.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-520x295.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Garrett Sorenson as Steve Wozniak and Edward Parks as Steve Jobs in ‘The (R)evolution of Steve Jobs’. \u003ccite>(Photo: Ken Howard Courtesy Santa Fe Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Appropriately, Bates has created a sound world for the opera's protagonist that features quicksilver electronic sounds and acoustic guitar -- an instrument that Jobs adored, especially as played by Joan Baez and Bob Dylan.\u003c/p>\n\u003cp>And while operatic heroes are usually played by tenors, this one’s a baritone -- a darker, more nuanced voice. American singer Edward Parks plays the character of Jobs in the world premiere production, opening in Santa Fe, New Mexico, this weekend. Like a true baritone, Parks isn’t afraid to embrace Jobs’ dark side.\u003c/p>\n\u003cp>\"I’m mostly drawn to his flaws,\" Parks says. \"The arc of his life is grand. There’s a lot of betrayal, there’s a lot of anger towards people, and there’s a lot of love as well.\"\u003c/p>\n\u003cp>All ingredients ripe for opera.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.santafeopera.org/operas-and-ticketing/the-revolution-of-steve-jobs\"> \"The (R)evolution of Steve Jobs\"\u003c/a> opens this weekend at Santa Fe Opera in Santa Fe, New Mexico. There will be a California production at San Francisco Opera during the company's 2019-2020 season.\u003c/p>\n\n","blocks":[],"excerpt":"Burlingame-based composer Mason Bates unleashes his new, electronica-infused opera about the tech icon, 'The (R)evolution of Steve Jobs.'","status":"publish","parent":0,"modified":1500943712,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":960},"headData":{"title":"Silicon Valley Composer Transforms Steve Jobs' Life Story Into Opera | KQED","description":"Burlingame-based composer Mason Bates unleashes his new, electronica-infused opera about the tech icon, 'The (R)evolution of Steve Jobs.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Silicon Valley Composer Transforms Steve Jobs' Life Story Into Opera","datePublished":"2017-07-21T18:08:57.000Z","dateModified":"2017-07-25T00:48:32.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11572666 https://ww2.kqed.org/news/?p=11572666","disqusUrl":"https://ww2.kqed.org/news/2017/07/21/silicon-valley-composer-transforms-steve-jobs-life-story-into-opera/","disqusTitle":"Silicon Valley Composer Transforms Steve Jobs' Life Story Into Opera","path":"/news/11572666/silicon-valley-composer-transforms-steve-jobs-life-story-into-opera","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Composer and electronica DJ \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mason Bates\u003c/a> is listening intently to the sound of a clicking computer key through speakers rigged up to a laptop in his Burlingame music studio.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"audio","attributes":{"named":{"src":"http://www.kqed.org/.stream/anon/radio/RDnews/2017/07/20170724JobsOperaVeltman.mp3","image":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-1180x668.jpg","title":"Silicon Valley Composer Transforms Steve Jobs' Life Story Into Opera","program":"The California Report","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bates admits the key clicks don’t sound like much on their own. But the opening music in his new opera, \u003ca href=\"https://www.santafeopera.org/operas-and-ticketing/the-revolution-of-steve-jobs\" target=\"_blank\" rel=\"noopener noreferrer\">\"The (R)evolution of Steve Jobs\"\u003c/a>, morphs out of those simple sounds.\u003c/p>\n\u003cp>\"When you take them together and then turn them into a rhythmic device, they create a bit of a tapestry,\" he says.\u003c/p>\n\u003cfigure id=\"attachment_11577470\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11577470\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-800x451.jpg\" alt=\"Composer Mason Bates in his home music studio in Burlingame.\" width=\"800\" height=\"451\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-800x451.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-1020x575.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-1920x1082.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-1180x665.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-960x541.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer Mason Bates in his home music studio in Burlingame. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bates often uses digital technology in his orchestral works. He's written major pieces for the likes of the San Francisco Symphony and the Kennedy Center in Washington, D.C., among other top-tier arts institutions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But this is his first full-length opera. And it matters to the 40-year-old composer that the pops, beeps and whizzes in his score come from genuine Apple gear. The key clicks are those of the Mac Plus computer, released in 1986.\u003c/p>\n\u003cp>\"While you might not be able to pick out exactly that’s a spinning hard drive of an Apple I, a Power Mac or Mac Plus key click, I think the accumulation of those sounds does lend an authenticity to the sound world,\" Bates says.\u003c/p>\n\u003cfigure id=\"attachment_43874\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-43874\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/10/Jobs_2003_rev3.jpg\" alt=\"Steve Jobs in 2003. Creative Commons.\" width=\"1920\" height=\"1755\">\u003cfigcaption class=\"wp-caption-text\">Steve Jobs in 2003. Creative Commons.\u003c/figcaption>\u003c/figure>\n\u003cp>But it takes more than an authentic sound world to make sense of Steve Jobs’ epic life story on stage; it's not for nothing that Walter Isaacson's well-known 2011 biography of Jobs (which Bates cites as a major source of inspiration for his opera) runs to more than 650 pages.\u003c/p>\n\u003cp>After all, the man ran three major companies -- Apple, NeXT and Pixar -- where he oversaw the release of many wildly successful products and movies like the iPhone and \u003ci>Toy Story\u003c/i>.\u003c/p>\n\u003cp>He also had a complicated personal life. Jobs was adopted as a baby; he refused to publicly acknowledge his first child, Lisa Brennan-Jobs, for years; and he died young in 2011 of cancer at the age of 56.\u003c/p>\n\u003cfigure id=\"attachment_11577472\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11577472\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-800x453.jpg\" alt=\"Edward Parks as Steve Jobs in ‘The (R)evolution of Steve Jobs’.\" width=\"800\" height=\"453\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-800x453.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-160x91.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-1020x577.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-1920x1086.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-1180x668.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-960x543.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-240x136.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-375x212.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edward Parks as Steve Jobs in ‘The (R)evolution of Steve Jobs’. \u003ccite>(Photo: Ken Howard Courtesy Santa Fe Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"He was such a complex individual, I cannot even imagine how you’d capture Steve’s life in an opera,\" says Andy Cunningham, who worked closely with Jobs as a publicist and witnessed the ups and down of his career -- and erratic temperament -- firsthand.\u003c/p>\n\u003cp>Cunningham says Jobs hired and fired her several times, and once demanded calla lilies for his hotel room at midnight. \"Steve was a very emotional person, and he was driven largely by his emotions,\" she says.\u003c/p>\n\u003cfigure id=\"attachment_11572896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11572896\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-800x451.jpg\" alt=\"Andy Cunningham worked as a publicist for Steve Jobs in his early years at Apple, NeXT and Pixar. She witnessed the ups and down of his career — and erratic temperament — first hand.\" width=\"800\" height=\"451\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-800x451.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-1020x575.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-1920x1082.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-1180x665.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-960x541.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andy Cunningham worked as a publicist for Steve Jobs in his early years at Apple, NeXT and Pixar. She witnessed the ups and down of his career — and erratic temperament — firsthand. \u003ccite>(Photo: Richard Michel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other individuals and organizations have also questioned the idea of transforming Jobs' story into opera.\u003c/p>\n\u003cp>For instance, the San Francisco Opera turned down the opportunity to host the world premiere when Bates and his early-stage collaborator on the project, UC Berkeley arts presenter Cal Performances, approached SF Opera's leadership in 2013. (Since the project was workshopped at the San Francisco Conservatory of Music in 2015 and 2016, SF Opera has come around, and will be producing the work in its 2019-2020 season.)\u003c/p>\n\u003cp>But Bates revels in the complexity and emotionality of his subject. \"His actual life is the stuff of opera,\" Bates says.\u003c/p>\n\u003cp>The opera careens backward and forward between episodes in Jobs’ life. In one scene he's launching the iPhone at MacWorld 2007. Then it’s 1974 and he’s dropping acid in an orchard with his girlfriend.\u003c/p>\n\u003cp>The work also weaves together intricate theme tunes for each individual character. There's jazzy saxophone music for Steve Wozniak, Jobs' partner in the early years of Apple. Gongs and prayer bowls illustrate Jobs’ spiritual adviser, Kobun Chino Otogawa.\u003c/p>\n\u003cfigure id=\"attachment_11577471\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11577471\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-800x453.jpg\" alt=\"Garrett Sorenson as Steve Wozniak and Edward Parks as Steve Jobs in ‘The (R)evolution of Steve Jobs’.\" width=\"800\" height=\"453\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-800x453.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-160x91.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-1020x578.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-1920x1088.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-1180x668.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-960x544.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-240x136.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-375x212.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-520x295.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Garrett Sorenson as Steve Wozniak and Edward Parks as Steve Jobs in ‘The (R)evolution of Steve Jobs’. \u003ccite>(Photo: Ken Howard Courtesy Santa Fe Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Appropriately, Bates has created a sound world for the opera's protagonist that features quicksilver electronic sounds and acoustic guitar -- an instrument that Jobs adored, especially as played by Joan Baez and Bob Dylan.\u003c/p>\n\u003cp>And while operatic heroes are usually played by tenors, this one’s a baritone -- a darker, more nuanced voice. American singer Edward Parks plays the character of Jobs in the world premiere production, opening in Santa Fe, New Mexico, this weekend. Like a true baritone, Parks isn’t afraid to embrace Jobs’ dark side.\u003c/p>\n\u003cp>\"I’m mostly drawn to his flaws,\" Parks says. \"The arc of his life is grand. There’s a lot of betrayal, there’s a lot of anger towards people, and there’s a lot of love as well.\"\u003c/p>\n\u003cp>All ingredients ripe for opera.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.santafeopera.org/operas-and-ticketing/the-revolution-of-steve-jobs\"> \"The (R)evolution of Steve Jobs\"\u003c/a> opens this weekend at Santa Fe Opera in Santa Fe, New Mexico. There will be a California production at San Francisco Opera during the company's 2019-2020 season.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11572666/silicon-valley-composer-transforms-steve-jobs-life-story-into-opera","authors":["8608"],"programs":["news_72"],"categories":["news_223","news_8"],"tags":["news_19182","news_21279","news_301"],"featImg":"news_11592140","label":"news_72"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png","officialWebsiteLink":"http://freakonomics.com/","airtime":"SUN 1am-2am, SAT 3pm-4pm","meta":{"site":"radio","source":"WNYC"},"link":"/radio/program/freakonomics-radio","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519","tuneIn":"https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/","rss":"https://feeds.feedburner.com/freakonomicsradio"}},"fresh-air":{"id":"fresh-air","title":"Fresh Air","info":"Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.","airtime":"MON-FRI 7pm-8pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/fresh-air/","meta":{"site":"radio","source":"npr"},"link":"/radio/program/fresh-air","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/Fresh-Air-p17/","rss":"https://feeds.npr.org/381444908/podcast.xml"}},"here-and-now":{"id":"here-and-now","title":"Here & Now","info":"A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. 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