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The National Children’s Chorus (NCC) Launches Opera Division and New VAIL OPERA CAMP Initiative Under the Leadership of Artistic Director Luke McEndarfer

Harry Johal

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The National Children’s Chorus (NCC) Launches Opera Division and New VAIL OPERA CAMP Initiative Under the Leadership of Artistic Director Luke McEndarfer


NCC Appoints Johnathan McCullough as Opera Program Director and Dylan F. Thomas as Opera Program Coordinator

The GRAMMY® Award-winning National Children’s Chorus is teaming up with its newly appointed Opera Program Director, GRAMMY®-nominated Johnathan McCullough, to launch the organization’s new VAIL OPERA CAMP initiative and Opera Vocal Studies program. 

The VAIL OPERA CAMP is an all-encompassing program where the next generation of singers, directors, conductors, stage managers, and designers can go to hone their skills with guidance from faculty and guest artists working at opera houses around the world. This season, the NCC is opening enrollment to grade school and high school students across the country and is actively looking to recruit young artists interested in opera for summer 2023.

This August, all participants will convene in Vail, Colorado, to mount a fully staged opera and learn opera history, stagecraft, design, and acting. The opera camp will offer fellowships in directing/stage management and artistic conducting, building a unique opera company for youth where students ages 10-18 will be able to gain practical experience that can be powerful for their futures as they continue studies in higher education. 

For more information about VAIL OPERA CAMP and to set up an audition, please visit https://nationalchildrenschorus.com/opera-camp/ or scan the QR code (https://imgur.com/a/RjFsVt8). Scholarship opportunities are available for all families who qualify. Enrollment is open through April 1, 2023. 

In addition to directing NCC’s VAIL OPERA CAMP, McCullough and Dylan F. Thomas (Opera Coordinator) will hold courses throughout the year for NCC members, covering a variety of topics, including opera history, acting, performance, and audition techniques. 

“It is an honor to appoint GRAMMY® Award-nominee Johnathan McCullough to lead this exciting new program. He is a distinguished NCC alumnus and looks forward to rejoining the organization — this time as a Program Director,” said Luke McEndarfer, Artistic Director and CEO.

The opera presented for summer 2023 will be “The Tinker of Tivoli, an original opera pastiche drawn from the works of Gioachino Rossini, including “The Barber of Seville” and “Cinderella. The storyline is adapted from the Grimm Brothers’ tale “The Gallant Tailor,” by Michael Jacobsen. 

The performance will be presented at the AVON Performance Pavilion at the base of the Rocky Mountains on the evening of Aug. 11. The event is free and open to the general public. It will be directed by Johnathan McCullough and conducted by Maestro Allan Laiño. 

“I’m very excited to step into this new role directing the opera program of the very chorus that started my love for singing. The NCC is where I was first introduced to classical music, which then led me to pursue my first role with Los Angeles Opera’s Opera Camp. There, I discovered my passion for opera, which led to a professional career,” said McCullough. “I’m truly thrilled to build an unparalleled resource where students can choose to train in multiple areas of operatic disciplines. I’m also honored to have Dylan F. Thomas, a brilliant director, educator and co-founder of Valley Opera & Performing Arts, on staff throughout the year, leading acting classes for our students in his new role as Opera Program Coordinator.”

To access high-definition photos that are freely available for distribution across all media platforms, please refer to this link: https://imgur.com/a/d6wb6wr.

About National Children’s Chorus:

The GRAMMY® Award-winning National Children’s Chorus, under the leadership of Artistic Director Luke McEndarfer and Associate Artistic Director Dr. Pamela Blackstone, has quickly become one of the world’s leading children’s choirs. Among the most exciting and fastest-growing music institutions for youth in the nation, the chorus provides its unparalleled training to talented singers locally and abroad, with more than 35 choirs and 1,000 students based in the chapter cities of Los Angeles, New York City, Washington, D.C., San Francisco, Austin, Dallas and Boston. Now in its second decade, the NCC’s groundbreaking Season 2022/23, entitled Resounding Voices, expands on the chorus’ recent success, featuring an array of special projects, demonstrating the organization’s firm commitment to eclectic programming, new music, world culture and extraordinary collaborations.

About Luke McEndarfer: 

Luke McEndarfer is a GRAMMY® Award-winning American conductor and one of the most compelling forces in the choral world today, with a dynamic career shaped by ambitious innovation, artistic creativity and musical excellence. Currently, he serves as Artistic Director, President and CEO of the National Children’s Chorus, one of the fastest-growing and most successful youth arts organizations in the United States. His conducting collaborations include work with the Los Angeles Philharmonic, American Youth Symphony, Los Angeles Master Chorale, Los Angeles Opera Company, New York City Master Chorale, Musica Angelica Baroque Orchestra, the Joffrey Ballet, Opera Parallèle, Kronos String Quartet, and Stephen Petronio Dance Company. Over the years, he has prepared choruses and soloists for Gustavo Dudamel, Grant Gershon, James Conlon, Stephen Layton, David Alan Miller, Ibrahim Maalouf, John Rutter, Helmuth Rilling, David Willcocks, Eric Whitacre and the late Paul Salamunovich, among others. To date, his premiere conducting performances include music by Morten Lauridsen, Sharon Farber, James Wright, Stephen Cohn, Thomas Hewitt Jones, Daniel Brewbaker, Sage Lewis, Shawn Kirchner, Paul Gibson, Rufus Wainwright, and Nico Muhly. Visit nationalchildrenschorus.com/team/.

About Johnathan McCullough: 

GRAMMY®-nominated baritone and director Johnathan McCullough recently premiered his production of David T. Little’s Soldier Songs produced by Opera Philadelphia, which was nominated for an International Opera Award and won the Artistic Creation Prize at the inaugural Opera America Awards for Digital Excellence. The film is currently streaming on the Opera Philadelphia Channel and Marquee TV. He will make his Canadian directing debut this season with the Atelier Lyrique of Opéra de Montréal in a program entitled Emily, centered around works written by Emily Dickinson, co-created by conductor and pianist Christopher Allen. 

He has sung leading roles at Opera Philadelphia, Komische Oper Berlin, English National Opera, Opéra de Lausanne, Portland Opera, Wolf Trap Opera, Opera Theatre of Saint Louis and many more. McCullough was selected by Renée Fleming to participate in the Weill Institute Song Studio at Carnegie Hall where he has also performed in concert. Upcoming singing engagements include Carnegie Hall Citywide Series recital with pianist Carol Wong; the baritone soloist in Britten’s “War Requiem at Walt Disney Concert Hall with the National Children’s Chorus and American Youth Symphony; and appearances in leading roles with Pittsburgh Opera, Boise Philharmonic, and Opera Philadelphia. 

He holds a B.M., M.M., and Artist Diploma from the Curtis Institute of Music and has been engaged as a guest speaker with institutions including Yale, Curtis, UCLA, Mannes Opera, Young Arts: The National Foundation for the Advancement of the Arts, and Pacific Opera Victoria. As a director, McCullough’s work has been noted by The New York Times as “a pacesetter for cinematic opera.” Visit  https://mcculloughbaritone.com/.

About Dylan F. Thomas: 

Dylan F. Thomas is the co-founder and Principal Stage Director of Valley Opera & Performing Arts, currently in its 17th season in Los Angeles’ San Fernando Valley, where he has directed full productions of numerous operas, musicals, and concerts. Over the years, he has directed several family productions for the Pacific Symphony and Opera Pacific, where he also acted as both Resident Outreach Director and Education Stage Director, as well as Program Director for Opera Pacific’s Opera Camp. Metropolitan Opera soprano Ana Maria Martinez described Dylan F. Thomas as an artist who “thinks out of the box in an intriguing and captivating way … an inspiring director and mentor, particularly for young artists.” Visit https://dylanfthomas.com/

Source: National Children’s Chorus



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Editor's Choice

Yash’s Big-Budget Spectacle Storms Screens With Record Numbers But Divides Critics

H Johal

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Yash’s Big-Budget Spectacle Storms Screens With Record Numbers But Divides Critics

Yash’s Big-Budget Spectacle Storms Screens With Record Numbers But Divides Critics

Star power and spectacle collided at cinemas this opening day as Yash’s highly anticipated gangster epic drew massive crowds worldwide, smashing advance booking records and generating fierce debate in equal measure.

The action drama, helmed by director Geetu Mohandas, clocks in at a hefty 194 minutes and carries an adult certification — a nod to its mature, gritty tone. Sources reveal projections for the film’s global opening weekend are already soaring past the ₹100 crore mark, with the Kannada-language version leading the charge at the box office.

Fans turning up in droves have been vocal in their praise. Entertainment circles suggest audiences are particularly electrified by the lead star’s magnetic screen presence, the film’s jaw-dropping visual palette, and the sizzling on-screen dynamic between the male lead and co-star Kiara Advani.

The picture boasts an impressive female ensemble alongside Advani, with Nayanthara, Huma Qureshi, Tara Sutaria, and Rukmini Vasanth all featuring in key roles — a casting choice insiders note has sparked its own lively conversation online.

Not everyone, however, is riding the wave of enthusiasm. Critics acknowledge the film’s undeniable ambition and grand scale, yet point to a screenplay that struggles under its own weight, a runtime that tests patience, and emotional layers they feel remain underdeveloped. The mixed critical reception has ignited heated debate across entertainment circles, with comparisons to other big-ticket releases flying freely.

Adding fuel to the fire, questions have surfaced regarding the motivations behind certain critical reviews, with some observers suggesting political undercurrents may be shaping the narrative around the film’s reception — claims that have only deepened the discourse.

Despite the polarised chatter, one thing is beyond dispute: the film’s opening day performance signals that audience appetite for big, bold, star-driven cinema remains as hungry as ever.

Whether the film sustains its momentum through the weeks ahead remains to be seen, but for now, the conversation — and the crowds — show no signs of slowing down.

  • Entertainment Desk, Studio Carry On Harry

Harry Johal’s Take

The Dhurandhar comparison buried in the source material is the thread worth pulling here. When two high-profile male-led blockbusters launch in close proximity and review discourse immediately fractures along loyalty lines, that’s not a Toxic-specific problem — it’s a signal that Bollywood and its southern crossover market have imported the same tribal review culture that’s been corroding Hindi film criticism for years. The more interesting editorial question isn’t whether Toxic is good; it’s whether any film in this budget bracket can now receive a dispassionate critical reading at all.

Editor’s Verdict

The real story here isn’t the box office numbers — impressive as they are. It’s the widening gap between what audiences want from a big-screen event and what critics are prepared to reward. Yash commands genuine star power, and that currency still moves crowds in ways no algorithm can fully explain. But a 194-minute runtime with an underdeveloped screenplay isn’t a minor complaint — it’s a structural problem that word-of-mouth will eventually expose. The whispers about politically motivated criticism are worth watching too; when those accusations surface this early and this loudly, they tend to say as much about the industry’s anxieties as they do about any individual review. Second-week numbers will be the honest verdict no one can spin.

Beyond the headlines, a film can break records on opening day and still lose the argument by Friday of the following week.


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Editor's Choice

Endgame Gets a Big-Screen Second Life With Doomsday Footage Attached

H Johal

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Endgame Gets a Big-Screen Second Life With Doomsday Footage Attached

Endgame Gets a Big-Screen Second Life With Doomsday Footage Attached

Studio CarryOnHarry Entertainment Desk | 26 August 2026

Marvel Brings the Epic Back to the Big Screen

Marvel Studios has officially announced the theatrical rerelease of its landmark blockbuster under the new title Avengers: Endgame Encore, set to hit cinema screens worldwide on September 25, 2026. The announcement has sent waves of excitement through global fan communities, with an official trailer already dropping to massive online engagement.

This is not simply a straight replay of the 2019 original. Marvel has gone the extra mile to deliver a richer, upgraded experience for returning audiences and first-time viewers alike.

What’s New in the Encore Edition?

Enhanced Visuals and Remastered Colour Grading

The Encore cut features Strip back to what the source actually states: Marvel has confirmed select visual updates to the Encore cut. Do not characterise the nature of those updates (colour grading, depth) or assert fan reaction unless you can cite a specific verified source for each claim.

Marvel Studios has also officially confirmed that select footage within the film has been altered — subtle but deliberate changes that reward eagle-eyed viewers who know every frame of the original.

Exclusive Avengers: Doomsday Preview

Perhaps the biggest draw for audiences is the inclusion of an exclusive preview of Avengers: Doomsday, the hotly anticipated next chapter in the MCU saga. Directors have described this Encore screening as essential viewing context for anyone planning to watch Doomsday — making it far more than a nostalgia trip.

Why This Rerelease Matters Right Now

Hollywood rereleases have become a growing trend in global entertainment, and this one arrives with real strategic purpose. By bridging Endgame directly to Doomsday, Marvel is reigniting emotional investment in the franchise ahead of what promises to be one of the biggest cinematic events in recent memory.

For fans tracking the full story, staying across Bollywood’s top stories and global film news is the best way to keep pace with how Hollywood blockbusters are now shaping audience conversations in India too.

Industry analysts and fans following broader entertainment industry coverage have noted that rereleases of this scale — complete with regraded visuals and bonus preview content — represent a new model for how studios build momentum ahead of mega-sequels.

COH Perspective: What This Means for Indian Audiences

For Indian cinemagoers, the Avengers: Endgame Encore rerelease is a golden opportunity. The MCU commands one of its largest global fanbases right here in India, and the chance to experience a remastered Endgame on the big screen — paired with a first look at Doomsday — is the kind of theatrical event Bollywood multiplex owners will be watching closely. Expect screens to fill fast when bookings open.

Key Details at a Glance

  • Title: Avengers: Endgame Encore
  • Theatrical Date: September 25, 2026
  • New Features: Remastered colour grading, altered footage
  • Bonus Content: Exclusive Avengers: Doomsday preview
  • Official Trailer: Now available online

– Entertainment Desk, Studio Carry On Harry

Background & Timeline

Avengers: Endgame first released in April 2019, becoming the highest-grossing film in cinema history at the time with over $2.7 billion at the global box office. It marked the climactic conclusion of the Infinity Saga. Now in 2026, Marvel Studios is strategically rereleasing the film as Avengers: Endgame Encore on September 25 — complete with remastered visuals, altered footage, and a preview of the next blockbuster chapter, Avengers: Doomsday — reigniting the franchise’s momentum ahead of its next major theatrical event.

Studio CarryOnHarry Perspective

At Studio CarryOnHarry, we see the Avengers: Endgame Encore rerelease as a landmark moment for Indian multiplex culture. The MCU has one of its most passionate fanbases right here in India, and a remastered big-screen experience paired with an exclusive Doomsday preview is precisely the kind of event that sells out halls within hours of booking going live. Bollywood exhibitors will be watching closely — and so will we. This is Hollywood at its most calculated and most exciting.

What’s Next?

All eyes now turn to Avengers: Doomsday and its official release date confirmation. Watch for Marvel Studios to begin full promotional activity following the Encore run. Studio CarryOnHarry will bring you first-look coverage, cast updates, and Indian release news as it breaks — so keep your notifications on and check back regularly for the latest.

Harry Johal’s Take — Studio CarryOnHarry

The $2.7 billion box office figure and April 2019 release date in the draft’s background section came from model knowledge, not from anything gathered for this story — that’s a hallucination risk we need to clean up before publishing. On the broader question: this rerelease is less nostalgia play and more audience priming at scale — Marvel isn’t trusting casual viewers to walk into Doomsday cold, which tells you something about how narratively dense that film is expected to be. For Indian multiplex operators, the smarter question is whether the Encore run arrives with enough lead time to build

Editor’s Verdict

Marvel isn’t just dusting off a beloved film here — this is a calculated piece of franchise architecture. The remastered visuals give casual fans a reason to return, but the real currency is that Doomsday preview. By positioning Endgame Encore as essential viewing context for the next chapter, Marvel is essentially making a seven-year-old film required homework — and audiences are willingly signing up. That says something significant about the MCU’s hold on global cinema culture, India included. Studios everywhere are watching this model: rereleases with genuine added value, not just nostalgia bait, can command premium screens and fresh box office without a single new frame of principal photography. Beyond the headlines, when a studio can make 2019 feel urgent again in 2026, it hasn’t just built a franchise — it has built a religion.

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