Danielle Orlando is an accompanist to international opera singers and a vocal coach and artistic consultant to prestigious musical organizations throughout the world. She has appeared with esteemed singers in such venues as the Phillips Collection, Théatre du Châtelet, and Carnegie Hall; and for the United States Supreme Court, the Schubert Club, Vocal Arts D.C., Music at the Morgan Library, Good Morning America, Live with Regis and Kathie Lee, The Rosie O’Donnell Show, and many many more. She also appears in the documentary The Audition. Ms. Orlando has performed recitals for the Harriman-Jewell Series and has appeared at the Florida Opera and Astoria Music festivals, Festival Castell de Peralada (Spain), and Festival International Hautes-Laurentides (Canada).
Ms. Orlando served as accompanist, judge, and artistic coordinator for the Luciano Pavarotti International Voice Competitions and worked with Gian Carlo Menotti at the Festival dei Due Mondi for nine seasons. She was the artistic administrator and head of music staff for the Opera Company of Philadelphia and has served on the music staffs of the Metropolitan, Washington National, and San Francisco operas; Teatro Colón in Buenos Aires; Dresden Semperoper; and Savonlinna Opera Festival.
Ms. Orlando is a guest judge for the Metropolitan Opera National Council Auditions and a guest coach for the Domingo-Cafritz and Palm Beach young artist programs. Recent residencies include Curtis Summerfest, the University of Tennessee—Knoxville, and the Peking University Academy of Opera in Beijing. She will lead master classes at the Shanghai Conservatory of Music in Summer 2018.
Ms. Orlando holds bachelor’s and master’s degrees from Temple University, where she studied with Harvey Wedeen and Lambert Orkis. She also studied at the Eastman School of Music with David Burge. Ms. Orlando joined the faculty of the Curtis Institute of Music in 1986, and is also master coach at the Academy of Vocal Arts.
Beginning in the 2019-20 season, Ms. Orlando will assume co-leadership of the Curtis Vocal Studies Department and Curtis Opera Theatre, working alongside Eric Owens.
Kirsten Chambers made her Metropolitan Opera house debut on short notice in 2016 in the title role of Saolme. Her Carnegie Hall debut came on just two days’ notice when she sang the fiendishly difficult role of Maria in Richard Strauss’ Friedenstag with the American Symphony Orchestra. Her 2016-17 season started when she joined the roster of the Metropolitan Opera for the first time this fall as a cover of Isolde in Tristan und Isolde.
Upcoming highlights for 2018-19 include the title role in Die Ägyptische Helena in a return to Odyssey Opera in Boston, a return the Metropolitan Opera roster to cover Helmwige in Die WalkÜre and creating an innovative new opera with White Snake Projects called "I am a dreamer who no longer has dreams".
Engagements for 2017-18 include Infantin in Der Zwerg with Odyssey Opera in Boston, the Angel in Angels in America for New York City Opera, Erwartung with The Orchestra Now, and the title role of Saolme with Florida Grand Opera.
Baritone Luis Ledesma has established a reputation as a "rich and well controlled baritone (Opera News). He frequently portrays the heroes and villains of Puccini, Verdi and the bel canto masters as well as roles in recent new works in Spanish including Florencia en el Amazonas and El pasado nunca se termina.His operatic and concert career has advanced in Europe, the United States and South America and includes theaters such as Teatro alla Scala (Luisa Fernanda), the Liceu in Barcelona (Alphonse in La favorite, Riccardo in I puritani and Marcello in La bohème), Klangbogen Festival in Vienna (Leoncavallo's La bohème), Wexford Festival (Don Pasquale), Teatro Municipal de Santiago (Escamillo), Semperoper in Dresden (Marcello), several roles for Koeln Oper (including Don Carlo and Germont), Teatro Colon in Buenos Aires (Figaro in Il barbiere di Siviglia)
Bellas Artes in Mexico City (Marcello, Germont, and Escamillo ), Macau Festival (Sharpless), Teatro Nacional de Sao Carlos (Marcello), Graz Oper (Escamillo), L’opera de Montreal (Jack Rance in La fanciulla del West), Manitoba Opera (Escamillo), Opera Lyra Ottawa (Tonio), the Philadelphia Orchestra (Marcello in a concert version of La boheme and Beethoven Nine) and the Savonlinna Opera Festival (Enrico in Lucia di Lammermoor and Escamillo), Bucharest National Opera (Scarpia) and Hungarian State Opera (Alfio and Tonio).
In the United States, Mr. Ledesma has sung with many companies, including Houston Grand Opera, Lyric Opera of Chicago, San Diego Opera, Palm Beach Opera, Florida Grand Opera, Washington Opera, New York City Opera, Arizona Opera, Michigan Opera Theatre, Atllanta Opera, Santa Barbara Opera, Anchorage Opera, Santo Domingo, Madison Opera, Nashville Opera, Portland Opera, Indianapolis and Connecticut Opera, Opera Pacific, Lyric Opera of Kansas City, Opera Carolina, Memphis Opera, San Antonio Opera, New Jersey Opera, Minnesota Opera, Florentine Opera, and Hawaii Opera. He also sang two tours with Andrea Bochelli, performing in famous venues such as Madison Square Garden, Hollywood Bowl, Hard Rock Café in Hollywood, Florida, and the Auditorio Nacional Mexico City.
The 2017-2018 season begins with performances of Figaro in Il barbiere di Siviglia for the Astoria Music Festival. Mr. Ledesma will make two new role debuts in the fall, Zurga in Les Pêcheurs de Perles with Toledo Opera followed by El Duende in Piazzola's Maria de Aires for Nashville Opera. Last season featured performances of Florencia en el Amazonas with NYCO and Sinfonica Nacional del Estado de Mexico, Madama Butterfly for Palm Beach Opera and Il barbiere di Siviglia in San Antonio.
Mr. Ledesma made his Carnegie Hall debut in the Faure Requiem and returned for Dvorak’s Te Deum. He has sung Beethoven’s Ninth Symphony at the Mann Music Center with The Philadelphia Orchestra and with The Chamber Orchestra of Philadelphia. He has performed a variety of orchestral repertoire including Mozart's Coronation Mass, Orff's Carmina Burana with the Louisville Orchestra, a series of Christmas concerts in Hannover with the NDR Radiophilharmonie and a Verdi concert presented in Die Alte Opera Frankfurt. He also performed Beethoven’s Ninth Symphony for the Filarmonica de Jalisco and Gala concerts with Tampa Opera and with Festival Cultural Zacatecas, and a solo with Festival Classique des Hautes-Laurentides in Mont-Tremblant, Canada. His concert performances include La bohème (Marcello) at the Vail Festival and the Mann Music Center with The Philadelphia Orchestra and Beethoven’s Ninth Symphony and Handel’s Messiah in Spain with the Orquesta Sinfonica de Asturias.
Joining the stage from the far corners and back trails of her native South Africa, mezzo- soprano Samantha Malk is an artist devoted to the love of her craft. She began carving out her career focusing on recital and concert repertoire and has enjoyed many long-term collaborations with different pianists, conductors and chamber ensembles. On the operatic stage, Samantha has portrayed the roles of Dido, Niklausse, Dorabella and Cherubino to name a few.
Samantha is an alumna of Tanglewood Music Center, the Steans Music Institute at Ravinia Music Festival, Acadèmie Musicale de Villecroze and the Britten Pears Young Artist Programme at Aldeburgh Music Festival. Her education was completed in the United States where she holds degrees from Indiana University and Manhattan School of Music. Besides her dedication to the art of music making, Samantha is committed to developing and inspiring singers. She has been a voice consultant for the young artist program at the Israeli Opera in Tel Aviv since 2011 and in 2014, Samantha joined the voice faculty of the International Vocal Arts Institute in Israel.
Samantha maintains an international private voice studio and guest teaches Bogotá, Amsterdam, Berlin, Johannesburg and Paris. Samantha is currently the Deputy Head of Vocal Studies at Guildhall School of Music and Drama in London.
Soprano Jennifer Rowley is acclaimed worldwide for her unforgettable voice and remarkable stage presence, singing a richly varied repertoire that includes many of opera’s greatest heroines. In the 2020/21 season, Ms. Rowley adds another Verdi role to her growing list of repertoire, marking her role and house debut as Amelia Grimaldi in a new production of Verdi’s 'Simon Boccanegra' by Andreas Homoki at Opernhaus Zürich. The opening night performance will be streamed live from Zürich, and this production will be captured for a future DVD release.
Ms. Rowley sings her signature role of Tosca for two greatly anticipated house debuts, first at Opéra de Marseille and then at The Dallas Opera. Additionally, she’ll return to Opéra national de Paris as the title role of Verdi’s Aida, in a new production by Dutch director Lotte de Beer.
In the 2019/20 season, Ms. Rowley made her house and role debuts at the National Theatre Prague as Amelia in Verdi’s Un ballo in maschera, and at the Gran Teatre del Liceu in Barcelona as the title role of Aida. Of her Aida, Platea Magazine praised her “phrasing, breath management, expressive force in the high notes and subtlety at important moments,” calling them “her best weapons.” In Prague, her portrayal of Amelia garnered critical acclaim from KlassikaPlus.Cz, saying she gave the role “a romantic expression with a great personal touch in both voice and acting, with vocal certainty,” and that Rowley is “undeniably a dramatic artist.”
On the concert stage, Jennifer returned to Fort Worth Opera for a concert with pianist Joe Illick, joined by New York City Opera baritone Raymond Diaz. She sang a recital with Opera Naples, part of their “Opera Stars Concert” series; she returned to the Salisbury Symphony as the featured artist in their “Opera Fireworks” Gala Concert, and she also performed in concert for Toledo Opera.
An avid mentor to young artists, Jennifer led her first Virtual Artist Residency with Fort Worth Opera, where she held weekly themed Zoom masterclasses, engaging lectures, and casual Instagram Live chats with other singers, directors, coaches, and opera industry professionals. The success of that series led her to create an exclusive, six-week Virtual Audition Intensive with FWO to help singers navigate the new normal in the world of online auditioning. Additionally, Ms. Rowley returns to Baldwin Wallace University for her third Artist in Residency, where she will teach BW students in masterclasses and lessons and present a solo recital. Last season, she led masterclasses at SUNY Potsdam, Bowling Green State University, and the University of Miami, and she taught on the voice faculty at the International Summer Opera Festival of Morelia.
The following performances were unfortunately canceled due to the global pandemic: the title role of Tosca and Musetta in La Bohème at the Metropolitan Opera; her house and role debut at Opera Australia as Elizabeth I in Donizetti’s Roberto Devereux; Aida at Toledo Opera; and Beethoven’s Missa solemnis with the Philadelphia Orchestra in Philadelphia and at Carnegie Hall.
In the 2018/19 season, Ms. Rowley returned to The Metropolitan Opera for the title role in Puccini’s Tosca and her debut as Cilea’s Adriana Lecouvreur. Operawire celebrated her spectacular performance as Adriana Lecouvreur, which featured, “… a seemingly endless vocal line supporting by virtuosic breath support.” The season also marked her first appearance with the Maggio Musicale Fiorentino, singing Leonora in a new production of Verdi’s Il trovatore, and she later returned as the soprano soloist in Mahler’s Symphony No. 8, both under the direction of Fabio Luisi. Jennifer served as the 2018/19 Artist-in-Residence at Baldwin Wallace University, where she taught masterclasses and lessons and presented a recital. She concluded her season with her return to the Semperoper Dresden for her first performances as Valentine in a premiere staging of Meyerbeer’s Les Huguenots.
In the 2017/18 season, Ms. Rowley returned to The Metropolitan Opera in their new production of Tosca where she presented a “magnificent” (ZealNYC) portrayal of the tragic diva. She later starred as Leonora in Il trovatore on the Met stage, celebrated as “glorious, showing the listener the range her instrument truly possesses” (Operawire). She then made her debut with the Philadelphia Orchestra in a concert version of Tosca with Yannick Nézet-Séguin. Earlier in the season she performed the role with Nashville Opera. She began the summer with her Opéra National de Paris debut as Leonora in Il trovatore: “… an acclaimed debut on the Opéra Bastille stage … the singer’s youthful tone, her brilliant sound and her ability to emit beautiful spun lines which are marvelous … she seems perfectly at ease” (Forum Opéra). Hailed as a “force of nature from beginning to end” (Operawire) and “spectacular” (Wall Street Journal) in her portrayal, Jennifer ended the season with her debut in the title role of Simon Mayr’s rarely performed bel canto opera Medea in Corinto at Will Crutchfield’s newly-formed summer festival, Teatro Nuovo.
Jennifer Rowley’s triumphant Metropolitan Opera role debut as Roxane in Alfano’s Cyrano de Bergerac (2017) inspired universal critical praise, with The New York Times raving that this was a “break-through moment,” further adding that for the heartbreaking final scene, “Ms. Rowley sang with an intensity of expression and a subtly embittered sound that suggested a singer for enormous gift and promise.” The New York Classical Review echoed these statements, also calling this “a break out night for Ms. Rowley.” Operawire called her Roxane “the heart of the production,” The Observer said she is “a superb artist,” while ConcertoNet called her Roxane “a revelation.” Ms. Rowley previously made her Met stage debut in a sparkling portrayal of Musetta in La Bohème.
In recent seasons, Ms. Rowley sang a trio of European performances as Leonora in Il trovatore at Opéra de Lille, Théâtre de Caen in France, and the Grand Théâtre de Luxembourg, as well as Tove in Schönberg’s Gurre-Lieder with the Orquestra Sinfônica do Estado de São Paulo (OSESP). Additional engagements included debuts as Musetta in La Bohème at the Royal Opera House, Covent Garden; Leonora in Il trovatore at the West Australian Opera in Perth; and the title role of Tosca at the Semperoper Dresden. Other notable successes include the title role of Tosca with New Orleans Opera and her title role debut in Barber’s Vanessa with Toledo Opera.
Her swift ascent to stardom began when she burst onto the international scene as a last-minute replacement in the title role of Donizetti’s Maria di Rohan at the Caramoor Music Festival. Of the performance, given with just one day’s notice and a single rehearsal, The New York Times stated: “Throughout, she sang with a fluid, darkly rich voice and expressively conveyed Maria’s anguish” and Opera News noted that she “emerge[d] not just unscathed, but a real star…” She followed that performance with critically acclaimed successes at the Norwegian National Opera as Musetta (released on DVD) and at Finland’s Savonlinna Festival as Donna Anna in Don Giovanni.
Jennifer made her Carnegie Hall debut singing Verdi’s Messa da Requiem with the St. Cecilia Chorus and Orchestra, followed by acclaimed performances at New York City Opera as Orasia in Telemann’s Orpheus and the Savonlinna Opera Festival as Violetta in La traviata. She was a featured guest soloist on the 10th Anniversary Gala with Opera Hong Kong and made her much-lauded debut at the Spoleto Festival USA, setting the festival ablaze with an impressive double bill performing Anna in Puccini’s Le Villi and Carmela in Giordano’s Mese mariano.
A highly-decorated soprano who has been recognized by many international competitions, Jennifer Rowley was awarded the 2012 Richard Tucker Career Grant, was one of the top prize winners in the 2013 Licia Albanese Puccini Foundation Competition and the 2011 Opera Index Vocal Competition, a winner of the 2011 William Mattheus Sullivan Musical Foundation awards, a first prize-winner of the 2011 Gerda Lissner Foundation International Vocal Competition, a grant winner of the 2011 Licia Albanese-Puccini Foundation Competition, and the winner of the 2010 Metropolitan Opera National Council Auditions for the Michigan District.
Ms. Rowley made her professional debut in Cleveland Opera’s production of Mozart’s Die Zauberflöte, conducted by Anton Coppola. As a young artist, she worked with the Scuola dell’Opera Italiana at the Teatro Comunale di Bologna where she made her first main stage appearance as Magda in Puccini’s La rondine, as well as performances with The Opera Theatre of St. Louis, the Caramoor Music Festival, Brevard Music Center, the Instituto Superior del Arte of the Teatro Colón, and regionally at Michigan Opera Theatre.
Jennifer holds a Master of Music degree from Indiana University’s Jacobs School of Music and a Bachelor of Music degree from Baldwin Wallace College Conservatory of Music. She holds a Certificate of Performance Achievement from the Instituto Superior del Arte of the Teatro Colón and was a Max Kade Scholar at Middlebury College’s German for Singers Program. Ms. Rowley serves as an advisory board member for Classical Singer Magazine.
Juan del Bosco
President and Founder
Internationally acclaimed tenor, Juan Del Bosco made his debut at Carnegie Hall and Apolo Theater in 2016 and has performed at Palacio de Bellas Artes (Mexico City) and Lincoln Center in years past. Mr. Del Bosco frequently performed for European media outlets and royalty. He also performed the Mexican National Anthem at Tennis’ Davis Cup. He won the José Mojica Price for the best tenor at Concurso San Miguel, one of the most prestigious competitions in Latin America.
The Mexican tenor Juan Del Bosco has sung, the title role in Haydn’s Orlando Paladino, Riunuccio (Gianni Schicchi), King Artbano (La Dorichlea), The Duke (Rigoletto), Roméo (Roméo et Julieta), Faust (Faust), Tamino (Die Zauberflöte), Canio (I Pagliacci), and Eisenstein (Die Fledermaus).
Juan Del Bosco is the Founder and President of International Sumner Opera Festival of Morelia, which its first year become the 3rd largest Festival in Mexico. Mr. Del Bosco is also the Founder of Passion for the Opera, which will aims to support operatic vocal careers.
accompanist and vocal coach
Mary Pinto is an acclaimed accompanist and vocal coach who has worked with international opera singers and major American opera companies for the past 25 years.
Ms. Pinto is a student of John Wustman, the renowned accompanist for Luciano Pavarotti. She began her professional career as a rehearsal pianist for Dayton Opera, Omaha Opera, and August Opera. While at Omaha Opera, Mary privately coached many singers, including a young Susan Graham. She went on to coach for the Lyric Opera of Chicago's Ryan Opera Center, preparing performances of Don Giovanni, Così fan tutte, and the world premieres of Bright Sheng's The Song of Majnun and Bruce Saylor's Orpheus Descending working under Don Palumbo, Richard Buckley, Stewart Robertson, and Daniel Beckwith. Later, she worked as a rehearsal pianist and coach at Florentine Opera of Milwaukee, Opera San Antonio, Opera North, and Dallas Opera, where she played for their production of Carmen starring Denyce Graves. During her time at Opera San Antonio, she played for the Metropolitan Opera National Council Regional Auditions, an honor she later repeated in Chicago.
In 2012, Ms. Pinto had the pleasure of coaching Metropolitan Opera star and international soprano Deborah Voigt. As Ms. Voigt prepared the three Brünhilde roles for the Met's new production of Wagner's Ring Cycle during the 2011-2012 season, she served as lesson and rehearsal pianist, as well as a private coach. Ms. Pinto can be seen in the documentary Wagner's Dream: The Making of the Met's Ring Cycle which premiered at the 2012 Tribeca Film Festival.
Ms. Pinto's musical travels have also taken her across the globe. In 2014, she traveled to Russia to perform with Opera Noire's Ensemble in the American Embassy in Moscow and St. Petersburg. She also worked as an accompanist for the 2016 Martina Arroyo Foundation Prelude to Performance program, playing for their production of La Bohème. Since 2015, Ms. Pinto has spent her summers working as a vocal coach for the Westchester Summer Vocal Institute in Rye, New York and on the coaching staff at Masterclass d'Ischia in Ischia, Italy, a summer program for emerging professionals studying vocal technique in an intensive environment.
Having returned to her home state of New Jersey, Ms. Pinto has worked as a private coach and accompanist on the faculty of Montclair State University since 2007, playing lessons, giving private coachings, and preparing students for opera productions. She has played for several NJ-based opera companies including New Jersey State Opera and Light Opera New Jersey. Since 2015, she has acted as the Artistic Director of Opera at Florham. She also maintains an active coaching studio at her home in New Jersey and in New York City, and has worked with some of opera’s greatest stars including Jennifer Rowley, Christine Goerke, Sydney Outlaw, J’nai Bridges, Brian Jadge and Ailyn Pérez, among others. Most recently, she performed with all of the New York-area singers who sang for Black Opera’s tribute for Jessye Norman’s 75th Birthday in September 2020, and began acting as a mentor and coach at the Atelier d’Excellence Italian Program in October 2020.
Internationally acclaimed conductor Jorge Parodi has worked extensively in North America, Latin America, Europe, and Asia. Recent credits include Rossini’s Il barbiere di Siviglia and Mozart’s Le nozze di Figaro for Opera Tampa; Piazzolla’s María de Buenos Aires for New York City Opera, The Atlanta Opera and Opera Grand Rapids; Donizetti’s Lucrezia Borgia and Bellini’s I Capuleti e i Montecchi for Buenos Aires Lírica (Argentina); Britten’s The Turn of the Screw for the Castleton Festival in Virginia and The Banff Centre (Canada); Offenbach’s Les contes d’Hoffmann for Opera Orlando; Ravel’s L’enfant et les sortilèges for The Juilliard School at Lincoln Center and the World Premiere of Rhoda and the Fossil Hunt, the latest opera by John Musto –a coproduction of On Site Opera, Lyric Opera of Chicago Lyric’s Unlimited and Pittsburg Opera-. Upcoming engagements include his return to The Atlanta Opera and Opera Tampa, and his debut at Chautauqua Opera.
Reviewed as having “the most expressive conducting hands since Stokowski” by the New York Daily News, Argentinean born Jorge Parodi has also worked with such companies as the Teatro Colón in Argentina, the Volgograd Opera in Russia, the Encuentros Internacionales de Opera in Mexico, the Tokyo International Vocal Arts Academy in Japan, and the International Vocal Arts Institute in Israel. He has collaborated with such artists as Isabel Leonard, Eglise Gutierrez, Tito Capobianco, Sherrill Milnes, Aprile Millo and Rufus Wainwright and has assisted conductors Lorin Maazel and Julius Rudel, among others.
Maestro Parodi is the Music Director of Opera in Williamsburg (Virginia), where he has conducted Rigoletto, Il trovatore, L’elisir d’amore, Lucia di Lammermoor, La cenerentola and Le nozze di Figaro, among other titles. He is also the Music Director of the Senior Opera Theatre at the Manhattan School of Music, where he has led its productions to critical acclaim, including Schubert’s Die Verschworenen –that the New York Times praised as being “superbly performed” and the American premieres of Le Roi l’a dit by Délibes and Nina by Paisiello. A featured interview by editor-in chief F. Paul Driscoll to Maestro Parodi and his work with MSM Senior Opera Theater appeared in the March ’18 edition of Opera News.
Soprano Adriana Valdés is a Graduated from Superior School of Music in Mexico City.
Adriana has been a Soloist for the Theater of Bellas Artes in Mexico City, performing Hänsel und Gretel, Die Zauberflöte, Viva la Mamma, The Little Sweep, New Music concert with the National Symphonic Orchestra of Mexico, and others.
She is the Winner of four National Competition Prizes: First Place and The Roberta Peters Prize by Opera de San Miguel, and Second Prize and First Zarzuela Prize by Contest Carlo Morelli in Mexico.
Recorded a CD with work by Stravinsky, Ravel and Dèlage with Maestro Christian Ghomer and Tempus Fugit. Attended Masterclasses with Montserrat Caballé in 2014. She has performed numerous concerts and Operas in Mexico and the U.S. , among those are the principal roles in Alcina, La Voix Humane, Die Fledermaus, Don Pasquale, L'enfant et les sortilèges, The Medium, Gianni Schicchi, La Scala di Seta, Rigoletto, Pinocchio, Carmen, Marina and A Streetcar named Desire's debut in Latinoamerica among others. She worked for Disney Mexico and Myst My Soundtrack by Azteca TV. She has also been the voice on soundtrack for films like El Viaje de Keta and Lupe bajo el Sol. Has collaborated on stage with artists like José Antonio Morales “Josefo”, Ragnar Conde, Doc Severinsen, Arturo O’Farrill, Niksa Bareza, Juan Carlos Lomónaco, Chacho Gaytán, Felipe Fernández del Paso, among many others.
She currently lives in NYC where she the Head Director at her own opera project: The Artemis Opera Project in New York City collaborating with artists like Abdiel Vázquez and Edel Rodríguez. She was the Administrative Director and Creative Consultant for the International Summer Opera Festival of Morelia Online 2020.
She also works as a Voice Teacher.
More coming soon...
New York native Kay Canama is an arts agent, publicist, and curator. She works with a wide range of clients including visual artists, opera singers, jazz musicians, writers, and crafters citing that the only prerequisite she looks for in a client is a deep passion and strong work ethic.
When not advocating for her artists and performers, Kay creates art and performs herself. She just recently made her artist debut at One Art Space (@oneartspace) in New York's financial district and regularly sings opera for the staff and patrons at Bergdorf Goodman (@bergdorfs).
Kay credits her New York City upbringing and Filipina heritage for her fierce dedication to the arts and especially to live music.