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Behind every member of LA Opera’s Domingo-Colburn-Stein Young Artist Program is an entire team of coaches and staff helping each individual become the best performer they can be. Nino Sanikidze is the program’s head coach. In her role she wears many hats from coach and mentor to accompanist and administrator. It’s also a role where Sanikidze can bring to life her passion for music collaboration, working with singers, and nurturing the next generation of great artists.
Sanikidze grew up in the Republic of Georgia, where she says “it is very cultural for everyone to study music.” “You turn five years old and you learn to play piano, guitar, violin, or whatever. Of course, not everyone becomes a musician, but you start to appreciate music. My friends from music school, who are now doctors, lawyers, and scientists, still appreciate and are very educated in music.”
After originally thinking that she would become a physician, Sanikidze eventually pursued multiple degrees in music both in Georgia and then here in the United States, including a Doctor of Musical Arts in Collaborative Piano from the University of Maryland, College Park. It was during the latter that she auditioned for and received a place in the Domingo-Cafritz Young Artist Program at Washington National Opera, where she worked closely with that company’s general director at the time, Plácido Domingo.
It was Domingo, who asked Sanikidze to move to Los Angeles to help with the company’s new young artist program. For Sanikidze, it was a no brainer. She had freelanced at LA Opera in the years before and really enjoyed the collegial spirit at the company.
Joshua Winograde, the company’s senior director of artistic planning, has been living out his dream at LA Opera. For the past decade, he has developed the company’s celebrated Domingo-Colburn-Stein Young Artist Program and played an instrumental role in championing the company’s artistic vision. It has been an incredible journey for Winograde, whose long history with LA Opera began when he fell in love with opera as a teenager.
As a teenager, Winograde took summer classes at UCLA. There he met an exchange student from Japan who introduced him to Kathleen Battle’s recordings. “I had never heard anything like her. I was totally unaware that a human voice was capable of doing anything like that,” recalls Winograde. After hearing Battle’s voice, he became even more interested in singing and performing. He joined choirs and took advantage of every opportunity to see productions at LA Opera.
“Tara Colburn, one of the founders of LA Opera, was the mother of a friend of mine in high school. My friend didn’t like to go to the opera, so I was his mom’s date,” Winograde jokes.
After growing up at the LA Opera, Winograde pursued a career as a singer. He received both undergraduate and graduate degrees from the Julliard School and embarked on a professional career as a bass-baritone (including time as a young artist at Houston Grand Opera). However, as Winograde’s career took off, he started dreaming of a different career path.
“I couldn’t shake this peripheral vision of a career producing opera,” says Winograde.
Winograde followed his heart and switched to a career in management, working with young artists at Wolf Trap Opera Company and Julliard. One year later, LA Opera came knocking.
Our post about the Prompter raised some questions; so we thought we’d spend some time with our prompter to answer your them.
What does a promoter do?
Prompters are often referred to as a security blanket. We support both the artists and the conductor, reinforcing cues and helping keep time. While artists know their parts, the fear of forgetting a line is alleviated when you know someone’s there just in case.
Doesn’t it get hot in the box?
It is not really hot – at least I have never felt uncomfortable.
Do you ever get hit by stage debris?
Confetti will float in of course. It is not uncommon for some props to roll into the box, but nothing dangerous has happened so far. Thank goodness!
Plácido Domingo has a passion for discovering talent. He’s not just the world’s most legendary opera singer; he’s also a champion for new young artists. In 1993, Maestro Domingo established Operalia, an international vocal competition created to find and help launch the careers of today’s most promising young opera singers. Over the years, Operalia has done just that, launching the careers of some of the most talked about artists of our time.
This year’s competition wrapped up last night (you can watch the final round here), and those of us in Los Angeles, who have been following along all week, watched and cheered from our homes. Through the magic of live stream, we watched the final announcements from Guadalajara, Mexico. You could probably hear the cheering from the stage in Guadalajara when two of our very own young artists won top prizes (accompanied by Nino Sanikidze, Head Coach in the Young Artist Program).
- Nicolas Brownlee, a current member of LA Opera’s Domingo-Colburn-Stein Young Artist Program, won “The Don Plácido Domingo Ferrer Prize of Zarzuela.” Brownlee has been in six different productions at LA Opera to date, most recently as Coline in La Bohème. He will make his Metropolitan Opera debut this coming season, in addition to performing several roles in Los Angeles, including Angelotti in Tosca next spring.
- Brenton Ryan, an alumnus of LA Opera’s Domingo-Colburn-Stein Young Artist Program, won the Birgit Nilsson Prize. You can catch Ryan as Pedrillo in The Abduction from the Seraglio in our upcoming season, a role he debuted at the Metropolitan Opera this past spring.
Grand Avenue is a playground for arts and culture, and Grand Avenue is its epicenter. For the second year in a row, Grand Ave Arts: All Access invites all to explore, be curious, pop in, and choose their own adventures with more than 10 participating cultural institution. All events are free and open to the public.
LA Opera Young Artists Summer Hassan and Frederick Ballentine are following amazingly similar paths as they pursue their operatic careers. They both studied at Cincinnati’s Conservatory of Music where they first met in 2012. A few years later both were admitted to the Domingo-Colburn-Stein Young Artist Program at LA Opera. This season they appeared in The Magic Flute with Summer singing the role of the Second Lady and Frederick performing as the Armed Guard. Both are 26 and from the South with Summer hailing from North Carolina and Frederick a native Virginian.
By the time bass-baritone Nicholas Brownlee finishes his second season in LA Opera’s Domingo-Colburn-Stein Young Artist Program, he will have appeared in six different productions with the company. His is the robust voice audiences have heard from off stage in Moby-Dick and The Magic Flute and on stage in Madame Butterfly. He’s also the singer they will see in such diverse roles as Colline in the current production of La Bohème and as Cesare Angelotti in next season’s Tosca. While the 2015 Met Council Winner may sound and look at home on stage now, he did not always want to pursue a career in opera.
“I was always into performing, whether it was on the football field – I’m a super sports guy – or in choir,” says Brownlee, who originally wanted to be a choral conductor. That all changed when he had his first opera experience.