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48 minutes ago, Polo said:

I wanted GaGa to win for Shallows.  Was sooo disappointed.

She did win 2 other Grammys (along with Bradley Cooper 😍) for Shallow.... Best Pop Duo and Best Song for Visual Media. :)

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11 hours ago, busrolls36 said:

That's awesome but I wishing didn't have to answer questions to read the article 

Indiana native wins Grammy for role in opera about Jobs

IG-WEB-ed parks 1.jpg

The Santa Fe Opera’s recording of composer Mason Bates’ “The (R)evolution of Steve Jobs,” with Garrett Sorenson as Woz, left, and Edward Parks as Steve Jobs, won the Grammy for Best Opera Recording at the awards ceremony Sunday in Los Angeles.

KEN HOWARD/Santa Fe Opera

One of the published reviews of Ed Parks’ world-premiere performance as Steve Jobs in a biographical opera noted a distinct advantage that enabled Parks to bring the tech giant to life for the Santa Fe Opera.

Opera Warhorses noted the Indiana native baritone’s “advantage of somewhat resembling Jobs as a thirty-something,” in one of a passel of thumbs-up critiques that hailed his portrayal of the Apple Corporation founder in “The (R)evolution of Steve Jobs.”

Parks’ nailing the look and bringing home the story and the feel of Jobs’ complicated life rang well with the writers but it hit home with the most important critics of all, The Recording Academy.


Parks and the cast of the opera earned the Grammy for Best Opera Recording at the 61st annual awards presentation Sunday in Los Angeles.

“I’m not sure how anything can compare to a Grammy. I’m still in a bit of shock. Singing the title role in a Grammy-winning record is high up there on personal accomplishments,” Parks told The Indiana Gazette early today.

The album is credited to the opera conductor, Michael Christie; performers Sasha Cooke, Jessica E. Jones, Parks, Garrett Sorenson and Wei Wu; and producer Elizabeth Ostrow.

So far it ranks high on Parks’ growing list of opera credentials including the top American award-winner in the 2015 international Operalia competition in London, and a debut with the Metropolitan Opera as Fiorello in the Barber of Seville.

Parks had an early reputation as a promising singer in nearly every musical organization at Indiana Area Senior High School. He graduated in 2002 and debuted with the Met in the 2009-10 season.

Parks has starred in operas at the Lyric Opera of Chicago, in Atlanta, Portland, Kansas City, Nashville and Minnesota before hitting what turned out to be a new pinnacle in New Mexico.

There, he sang the Jobs role in a run of seven shows. Producers pored through recordings of each performance to compile the Grammy-winning final product, what Parks called a challenge for the engineers.

“They recorded a handful of the performances and patched the best parts. It’s especially tricky in Santa Fe because it is an open air theater so you have to deal with the elements. The producers were incredible on this project,” he said.

“Santa Fe is a summer festival. We set a record for the amount of tickets sold to one opera. It was like a rock concert every single night,” Parks said “People loved it. A woman came up to me in the grocery store and told me she drags her teenage son to a show every summer and this was the first time he asked if they could go back and see it a second time.”

Critics gushed over the contemporary story.

“At the end of the world premiere of ‘The (R)evolution of Steve Jobs,’ the audience roared its approval as if it had witnessed a blockbuster musical,” according to Financial Times. “Edward Parks makes a credible Jobs, visually as well as vocally. Santa Fe Opera has a hit on its hands.”

Parks “is so obviously able to sing in an expansive ‘operatic baritone’ style. But he didn’t really do that here,” the Santa Fe New Mexican reported. “He presented the part more intimately, as a lieder-singer might, with naturalness of style and exemplary diction.”

LAOpus.com also noted Parks’ resemblance to Jobs, and wrote that he “takes his persona through a tour-de-force emotional journey from early promise to middle-life betrayals and cruelties, and finally to the emotional acceptance of his own death. On stage most of the time, Parks did not so much dominate as lead the ensemble. His stage bearing took on the self-contained, almost inscrutable manner of Jobs himself, far from an operatic stereotype.”


Next up on Parks’ performance schedule, the iconic toreador Escamillo in Bizet’s “Carmen,” March 15 through 24 at Seiji Ozawa Matsumoto Festival (Japan), his second overseas appearance.

He’s holding hope for recognition from the Recording Academy in 2020.

“I just finished another show in Minnesota called ‘Silent Night.’ It’s a contemporary piece based on the World War I ceasefire on Christmas Eve. The composer Kevin Puts won the Pulitzer for it. We recorded it this past fall in Minnesota so there is hope for another Grammy nod next year!!”

Parks commented on his award in email messages late Sunday (Pacific Time) while readying for his flight back east. Fittingly, he responded to questions on an iPhone.

It wasn’t his acceptance speech to make, but Parks shared credit with all who made the Grammy possible.

“I would thank everyone involved especially Mason Bates and Santa Fe Opera for trusting me with this role. I’d thank my management, cast, creative team, and crew for making it all possible. I’d thank my family for always supporting me. My teachers for putting in the time and my wife Julie for being the rock.

“I’d also tell my daughter Willow if you have a dream you have to chase it ferociously.”

Also among the nominees for Best Opera Recording was “Der Rosenkavalier,” featuring Indiana-born soprano Renee Fleming and three other singers in their performance for the Metropolitan Opera Orchestra and Chorus.

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11 hours ago, sapphire said:

She did win 2 other Grammys (along with Bradley Cooper 😍) for Shallow.... Best Pop Duo and Best Song for Visual Media. :)

Guess I should have paid better attention.  Thanks!

Every day is a gift from God; that's why we call it the "present!"

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