A man in civilian clothes looks at another man wearing an army uniform and resting a rifle in his arm. | "When Lambs Become Lions"

Link Voices

Start watching
HRzkkPW-show-poster2x3-pWmERoT.jpg

Foreign Correspondent

Start watching
A man looks out to a vast landscape of mountains and water. | From "Embrace of the Serpent" / Kino Lorber

Cinemondo

Start watching
Earth Focus

Earth Focus

Start watching
Rahaf Al Qunun | "Four Corners" episode "Escape from Saudi"

Four Corners

Start watching
jElHzF3-show-poster2x3-ilk2bxh.jpg

America ReFramed

Start watching
MJ250sC-show-poster2x3-Bflky7i.png

Tending Nature

Start watching
Heart Donate Icon
Support the world of Link TV with a donation today.
Vehicle Donation Icon Card
Help us make a difference by donating a vehicle.
Planned Giving Icon
There are many ways to include Link TV in your plans for the future.

Vireo: Q&A with Harpist Bridget Kibbey

Vireo, the groundbreaking made-for-TV opera, is now available for streaming. Watch the 12 full episodes and dive into the world of Vireo through librettos, essays and production notes. Find more bonus content on KCET.org and LinkTV.org.

Harpist Bridget Kibbey joined violinist Vijay Gupta, cellist Joshua Roman, and flutist Lance Suzuki in the ensemble for "Vireo" Episodes 3 and 4, which recently wrapped filming at The Actors' Gang Theatre in Culver City, California. Bridget was kind enough to answer some questions about her experience performing Lisa Bielawa's music and appearing on camera in the episodes.

Q&A with Bridget Kibbey

Vireo: Did you have any experience being filmed as a harpist before being involved in "Vireo"?

Bridget Kibbey: I have had some experience being filmed in my past, but the role the harp has in this opera is a fabulous one – wearing multiple hats in both supporting the vocal cast, while responding to the dramatic emotional state of Vireo during each scene. As a result the harp takes on the persona of a concerned onlooker, a contentious instigator, a saddened narrator.

V: In what ways was recording for a taped opera different than a regular performance or recording session? Was it more or less challenging?

Q&A with Bridget Kibbey

BK: Recording for these live taped opera sessions felt very much like a performance (as we had a live studio audience), but the sense of "sacred space" was heightened by the close proximity of the cameras. It felt like having the audience right up close to the resonance of the harp while observing from a distance at the same time. I found that dichotomy fascinating as it mirrors the "time-jumping" that occurs so often in the plot.

V: What else is coming up for your 2015/16 season?

BK: This season I'm excited to take on a few special dramatic "roles": with the Chamber Music Society of Lincoln Center in André Caplet's "Mask of the Red Death" for harp and string quartet on May 13; performing Alberto Ginastera's fierce harp concerto with the Alabama Symphony celebrating the composer's centennial in April 3; opening the Metropolitan Museum of Art's new Breuer Space, with a Stockhausen performance in March; and just next month, I'm performing my own transcription of J.S. Bach's Toccata and Fugue in D Minor, BWV 565 Live and on the Air for WNYC on October 14th as a winner of a Salon De Virtuosi Grant.

Related Content
Carla Jay Harris "Sphinx," 2019. Archival pigment print. Two panels, 40 x 30 in. each. The work features a beautiful Black woman wearing a dark blue dress kneeling down in a golden meadow under a starry sky and bright orange sun. | Courtesy the artist

Now More Than Ever: The Need for Alternative Cultural Spaces

Learn more about the spaces filling the holes left behind by the historically white-centric L.A. art world.
Aerial view of Watts Towers Arts Center | Still from "Watts Towers Arts Center" ab s11

Stretching Out into the Community: Five Key Watts Artists Who Helped Shape American Art

Meet the core artists who were the vanguards of the West Coast edition of the Black Arts Movement: Betye Saar, Noah Purifoy, John Outterbridge and Jayne Cortez.
Mural at Mafundi Institute | Still from "Broken Bread" Watts

As If I was Carrying a Gun: Art and Surveillance in 1960s Watts

An arts movement emerged in ‘60s Watts. In response, federal and local law enforcement enacted counterinsurgency programs that infiltrated and co-opted Black arts and culture institutions and surveilled and targeted activists, artists and community member