Tag Archives: Houston Grand Opera

Joshua Winograde on a Life of Developing Young Talent

Joshua Winograde

Joshua Winograde

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.

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Music Monday: “Un bel di vedremo”

Ana María Martínez as the title character in Madame Butterfly 92016); Photo: Ken Howard

Ana María Martínez as the title character in Madame Butterfly (2016); Photo: Ken Howard

There are some pieces of music that instantly make the hair on your arms stand up – or give you goosebumps – or both. It’s usually the ones that break your heart while they’re at it. In the opera world, arias are the go-to heartbreakers. You’ve heard them, from Violetta’s final aria (Verdi’s La Traviata) to “Il dolce suono” (Donizetti’s Lucia di Lammermoor). Why? An aria – like a monologue in a play or a solo song in a musical – is the truest expression of a character’s desires and soul; it’s an outpouring of emotion. They’re usually sung when a character is most vulnerable.

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