Applications for Composers & the Voice 2015-17 available March 16

February 25, 2015

American Opera Projects (AOP) announces the return of its popular Composers & the Voice program for its 2015-17 seasons. Created and led by Composers & the Voice Artistic Director Steven Osgood, composers, librettists, and composer/librettist teams will be selected for a two-year fellowship that includes a year of working with the company’s Resident Ensemble of Singers and Artistic Team followed by a year of continued promotion and development through AOP and its strategic partnerships.  All sessions will be at AOP’s home base in Fort Greene, Brooklyn. Applications and complete information will be available beginning March 16 at www.operaprojects.org/composers_voice. The deadline for applications is May 15 with fellowships announced by July 1.

The primary focus of Composers & the Voice is to give composers and librettists experience working collaboratively with singers on writing for the voice and opera stage.  The workshop sessions between September 2015 and April 2016, include composition of solo works for six voice types (coloratura soprano, lyric soprano, mezzo-soprano, tenor, baritone and bass). In addition, over 45 hours of “Skill-Building Sessions” for composers and librettists will provide an in-depth and firsthand knowledge of how singers build characters, act in scenes and sing text. These will include acting courses by director Pat Diamond (Wolf Trap, The Aspen Music Festival), theatrical improvisation led by Terry Greiss (co-founder and Executive Director, Irondale Ensemble Project), and a new extended course in libretto development designed by librettist Mark Campbell (Silent Night, The Manchurian Candidate, As One).

Fellows from the seventh season of Composers & the Voice in a workshop session. Brooklyn, NY. Photo by Ted Gorodetzky

Fellows from the seventh season of Composers & the Voice in a workshop session. Brooklyn, NY. Photo by Ted Gorodetzky

“I can think of no better forum for a composer with a passion for learning the traditions of so-called progressive American opera theater than AOP’s program,” said opera composer and guest C&V instructor Daron Hagen.

Past “Composer Chairs,” sponsorships named in honor of mentors and their support of Composers & the Voice, have included composers John Corigliano, Daron Hagen, Jake Heggie, Lee Hoiby, Libby Larsen, John Musto, Tobias Picker, Kaija Saariaho, Tan Dun and composer-librettist Stephen Schwartz.

At the end of the workshop sessions, AOP will present the results of the participants’ work in public performances – First Glimpse, a concert of songs in Spring 2016, and Six Scenes, an evening of short opera scenes in Fall 2016.

Following the Six Scenes performances, Composers & the Voice enters its second year of its two-year cycle and focuses on the development and further promotion of the Fellows’ C&V-created works. This includes potential workshops and presentations in AOP “First Chance” opera development program as well as concert series that have included partnerships with Opera Memphis, Phoenix Concerts, Opera on Tap, and Two Sides Sounding, to name a few.

Select C&V operas-in-progress will receive staged readings in 2017 through a twelve-year AOP partnership with The Manhattan School of Music (www.msmnyc.edu) and a new affiliation with The UCLA Herb Alpert School of Music (www.schoolofmusic.ucla.edu). These readings using student performers provide continued development of C&V projects while serving to introduce contemporary opera to students. Previous C&V works at MSM have included Jack Perla’s Love Hate (2012 premiere, ODC Theater with San Francisco Opera), Gregory Spears’ Paul’s Case (World premiere, UrbanArias (2013) and PROTOTYPE Festival (Jan 2014)), and Daniel Sonenberg’s The Summer King (concert premiere, PortlandOvations, May 2014).

The second year of the cycle will also include a new partnership with The Hermitage Artist Retreat (http://hermitageartistretreat.org) that nurtures creativity in mid-career writers, painters, poets, playwrights, composers, translators, sculptors, and artists. A C&V Fellow (or Fellowship team) will be selected to receive a 6-week residency to continue opera development at the Hermitage’s Florida estate. AOP artists who have been in residence at The Hermitage include Laura Kaminsky (As One), Mark Campbell (As One), Phil Kline (Out Cold), Lera Auerbach (The Blind), and Huang Ruo (Paradise interrupted).

Since launching in 2002, C&V has fostered the development of 44 composers & librettists. Alumni works that went through AOP’s opera development program and continued to a world premiere include Love/Hate (ODC/San Francisco Opera 2012, Jack Perla), Paul’s Case (UrbanArias 2013, Gregory Spears), and The Scarlet Ibis (PROTOTYPE 2015, Stefan Weisman).

Past AOP Composers & the Voice Fellows have received grants and honors from the following organizations: Aaron Copland Fund for Music, ASCAP, BMI, the American Academy of Arts and Letters, the American Music Center, the American Composers Forum, OPERA America, the National Endowment for the Arts, Meet the Composer, the Argosy Foundation Contemporary Music Fund, the Fulbright Foundation, the Atlantic Center for the Arts, the Douglas Moore Fellowship, Tapestry New Opera Works, the Frederick Loewe Foundation, New Dramatists, and the Martha Baird Rockefeller Foundation.

The Andrew W. Mellon Foundation continues its support of AOP’s Composers & the Voice program through 2016 as part of a two hundred thousand ($200,000) multi-year grant award, which also covers artistic personnel and other program activities.

During his tenure as Artistic Director of American Opera Projects (2001 to 2008), Steven Osgood created Composers & the Voice, and conducted the world premieres of Paula Kimper and Wende Persons’ Patience & Sarah at the Lincoln Center Festival, and Janice Hamer and Mary Azrael’s Lost Childhood at the International Vocal Arts Institute (Tel Aviv). He has also conducted premieres by Laura Kaminsky (As One), Stefan Weisman (The Scarlet Ibis), Kamala Sankaram (Thumbprint), Jonathan Sheffer (Blood on the Dining Room Floor), Tan Dun (Peony Pavilion), Xenakis (Oresteia), Missy Mazzoli (Song from the Uproar), Mohammed Fairouz (Sumeida’s Song), and Daron Hagen (Little Nemo in Slumberland). He has served on the Music Staff of the Metropolitan Opera since 2006.  Upcoming productions include Glory Denied (Opera Memphis), Three Decembers (Atlanta Opera), and The Long Walk (world premiere, Opera Saratoga).


AOP Receives OPERA America Grant to Commission New Opera About the Chinese Zodiac

February 10, 2015

Opera Grant for Female Composers awarded to double-bill by composer Wang Jie currently in development at AOP for 2017 premiere at Festival Opera

American Opera Projects (AOP) is proud to announce it is the recipient of an OPERA America Female Commissioning Grant in support of a new double bill chamber opera by composer Wang Jie currently titled To Kill That Bird. The two one act operas of To Kill That Bird are united by the theme of strong female artists contending against the oppressive bureaucracy of the Zodiac Animal overlords.

AOP will begin workshops of the opera in 2015 through its First Chance program, which allows composers and librettists to hear their work in part or in full for the first time before an audience, with live singers and accompaniment. The production is slated to debut in 2017 at Festival Opera in Walnut Creek, CA, to be conducted by Festival Opera’s longtime artistic director, Michael Morgan.

First premiered in concert at Carnegie Hall in 2010 where it was called “by turns whimsical, campy, tragic, haunting” by The New Criterion, the first half of To Kill That Bird, the 30-minute “From the Other Sky,” portrays the fable of how the thirteen animals of the Chinese Zodiac downsized to twelve. Experiencing human compassion for the first time, this thirteenth Zodiac Goddess loses her place in the heavens to share her musical powers with mankind. “From the Other Sky” was commissioned by American Composers Orchestra/Mr. Paul Underwood.

The 70-minute second bill “From the Land Fallen” tantalizes the audience with a tragic and haunting transgender love story. New York City in a parallel universe, the Zodiac Animals rules the human world headed by the Rat. As human rebellion erupts, a war widow finds her late husband’s spirit embodied in a deranged woman and falls in love with her.

OPERA America’s Opera Grants for Female Composers provide support for the development of new operas by women, both directly to individual composers and to opera companies producing their work, advancing the important objective to increase diversity across the field.  As part of this grant program made possible through the generosity of The Virginia B. Toulmin Foundation, AOP-sponsored composers Laura Kaminsky (As One) and Sheila Silver (A Thousand Splendid Suns) were each awarded in 2014 a Female Discovery grant, which supported the production of new opera by emerging female composers.

Composer Wang Jie

Composer Wang Jie

ABOUT THE ARTISTS:

Part cartoon character, part virtuoso, musical whiz kid WANG JIE has spent the last decade nudging serious music and its concert audiences into spectacular frontiers. One day she spins a few notes into large symphonic forms, the next she calls grotesque Zodiac animals to the opera stage. She’ll even tempt comedy writer Paul Simms to help her coax belly laughs from an otherwise sedate Opera America audience with “Lord? Please Don’t Let Me Die in a Funny Way”. Her stylistic versatility is a rare trait in today’s composers. Most recently, her Symphony No. 2, commissioned and premiered by Detroit Symphony Orchestra under the baton of Leonard Slatkin was streamed live to a worldwide audience. The showcase of her tragic opera Nannan by New York City Opera’s VOX led to the production of her chamber opera Flown, commissioned and produced by Music-Theatre Group. Having won the Underwood Composers Commission, her concert opera “From the Other Sky” was the centerpiece of the American Composers Orchestra’s season opening concert at Carnegie Hall. Jie holds honors from ASCAP, American Academy of Arts and Letters, the Koussevitzky Foundation in the Library of Congress, NYU, Opera America, among others. http://wangjiemusic.com

ANNE BABSON, a Coney Island poet recently transplanted to Mississippi, was nominated for a Pushcart for work in The Haight-Ashbury Literary Journal and Illya’s Honey. She has won awards from Columbia, Atlanta Review, Grasslands Review, and other reviews. Her work has been published in the US, in England, Ireland, New Zealand, Australia, and Turkey. She was included in a British anthology of the best working American poets today entitled Seeds of Fire (Smokestack Books, 2008) and is another British Anthology related to the current riots in England entitled Emergency Verse (Caparison Books, 2011). She has four chapbooks, over a hundred journal publications, including work recently featured in in Iowa Review, Barrow Street, Atlanta Review, and many others. She is featured on a compilation hip-hop CD–The Cornerstone (New Lew Music, 2007). She has read her work for national radio programs and has appeared on television in the United States and in Taiwan.

 

ABOUT THE PRESENTERS:

AOP (American Opera Projects, Inc.) is a driving force behind the revitalization of contemporary opera and musical theater in the United States through its exclusive devotion to creating, developing, and presenting new American opera and music theatre projects. AOP has produced over 25 world premieres, including Kaminsky/Campbell/Reed’s As One (2014) and Phil Kline’s Out Cold (2012) at BAM, and Lera Auerbach’s The Blind (2013), Nicholas Brooke’s Tone Test (2004), and Kimper/Persons’ Patience & Sarah (1998) at Lincoln Center Festival. Other notable premieres include Nkeiru Okoye’s Harriet Tubman: When I Crossed That Line to Freedom (2014), Weisman/Rabinowitz’s Darkling (2006), and Lee Hoiby’s This is the Rill Speaking (2008). AOP-developed operas that premiered with co-producers: Weisman/Cote’s The Scarlet Ibis at PROTOTYPE Festival (2015), Gregory Spears’s Paul’s Case at Urban Arias (2013) and PROTOTYPE Festival (2014), Stephen Schwartz’s Séance on a Wet Afternoon at New York City Opera (2011), Tarik O’Regan’s Heart of Darkness at London’s Royal Opera House (2011), and Jorge Martín’s Before Night Falls at Fort Worth Opera (2010). UPCOMING in 2015: As One at Caine College of the Arts (Logan, UT) and West Edge Opera (Berkeley, CA); Heart Of Darkness at Opera Parallèle (San Francisco, CA); Paradise Interrupted at Spoleto Festival USA (Charleston, SC); The Blind at Central City Opera (Central City, Denver, Aspen and Boulder, CO). www.operaprojects.org

Founded in 1991, FESTIVAL OPERA has focused on developing innovative and creative productions of classic opera from the standard repertory, and has augmented that vision in recent years with rarely-heard productions, commissions, and new works, endeavoring to bridge to diverse members of the community with meaningful stories and music. As Festival Opera enters its 25th season, the company remains committed to bringing extraordinary opera to residents of San Francisco’s East Bay communities. In 2015, the company will stage the West coast premiere of Jack Perla’s River of Light in a double bill with Gustav Holst’s Savitri, as well as a main stage production of Ariadne auf Naxos, directed and conducted by maestro Michael Morgan, Festival Opera’s longtime artistic director. Festival Opera showcases emerging American artists, and presents fully-staged opera in Walnut Creek, California, at the Lesher Center for the Arts, chamber operas in smaller venues, and a free Opera in the Park in June in Walnut Creek’s Civic Park. www.festivalopera.org


New Opera Tackles Racism In America In Free Concert Performance In Harlem

January 28, 2015

Independence Eve, currently in development at AOP, to be presented at The Harlem School of the Arts

“Stop and Frisk” among three stories exploring a century of race relations.

NEW YORK, NY American Opera Projects (AOP) and The Harlem School of the Arts present Independence Eve, a new chamber opera in three scenes that explores the troubled journey of race relations in America. The free concert performance will take place on Thursday, February 5 at 7:00PM at The Harlem School of the Arts (The Herb Alpert Center, 645 Saint Nicholas Avenue, New York, NY 10030). Composed by Sidney Marquez Boquiren with a libretto by Daniel Neer, the opera will include performances by baritone Jorell Williams and tenor Brandon Snook, while Mila Henry will provide music direction and piano. A talkback with the artists will follow the one hour concert moderated by composer Laura Kaminsky (As One) and HSA Voice Chair Yolanda Wyns.

Currently in development at AOP, Independence Eve is comprised of three unrelated scenes, each of which take place on July 3 on a park bench in an unspecified American city, in the years 1963, 2013, and 2063. Each story focuses on the relationship between two men, one white and one black, who struggle with identity and acceptance. Independence Eve is a study of black and white America, offering commentary on the intricacies of race relations and the insidious and persistent stain of racism that has remained consistent throughout American history.

The first scene, “Stop and Frisk,” has already received numerous community performances throughout Brooklyn and garnered attention from the press, including a recent Talk of the Town profile in The New Yorker.

Independence Eve is currently in development as part of AOP’s First Chance program that allows composers and librettists to hear their works-in-progress performed before an audience. Development of the opera began during Mr. Boquiren’s fellowship in the 2011-12 season of AOP’s composer training program Composers & the Voice with both Mr. Williams and Mr. Snook creating their roles. Development of the opera is made possible, in part, through generous funding by The Andrew W. Mellon Foundation and the New York Department of Cultural Affairs.

AOP plans to present the world premiere of Independence Eve at park benches around New York City in June 2015.

ADDITIONAL PROJECT INFO AND PRESS MATERIALS AVAILABLE AT: www.operaprojects.org

IEJorell Williams and Brandon Snook in Independence Eve (Nov. 2014 performance at Adelphi University).

Photo by Matt Gray for American Opera Projects

Listing Info

INDEPENDENCE EVE
The making of an opera about race relations in America

Thursday, February 5 – 7:00 PM

The Harlem School of the Arts, The Herb Alpert Center 645 Saint Nicholas Avenue, New York, NY 10030

AOP and The Harlem School of the Arts present a staged concert performance of Independence Eve, a new chamber opera in three scenes by composer Sidney Marquez Boquiren and librettist Daniel Neer that explores the troubled journey of race relations in America. Followed by a Q&A with the artists. Part of the 2014 Composers Now Festival.

PERFORMANCES BY: Jorell Williams and Brandon Snook

MUSIC DIRECTION/PIANO: Mila Henry

TICKETS: FREE

RUNNING TIME: Two hours, including Q&A

ABOUT THE ARTISTS:

Sidney Marquez Boquiren is a composer-performer who grew up in the Philippines and Saudi Arabia but has spent most of his life in the United States. He collaborates with artists on various projects that include opera (Independence Eve with Daniel Neer); Biblical illumination (folia ligni for Spark and Echo Arts); and multi-media (The Gretel Project with Lauren K. Alleyne, Catherine Chung, and Tomiko Jones). As a pianist, he performs regularly with Rhymes With Opera and pulsoptional. A MacDowell Fellow, Sidney is currently the Chair of the Department of Music at Adelphi University in Garden City, New York, where he teaches music theory and composition. He is also a cantor and sings in the church choir of The Church of St. Francis Xavier in Manhattan.

Daniel Neer enjoys a diverse career as a singing actor and librettist. Recent projects include Bruce Bailey with Daniel Felsenfeld for the BEAT Festival, and BQE with Robinson McClellan for the Queens New Music Festival, (both commissioned by Two Sides Sounding). The opera Mercury Falling, with Chandler Carter, was presented at the Long Leaf Festival in Raleigh, North Carolina, and song set HAIKU-NYC with Ellen Mandel recently premiered at the BEAT Festival. Daniel’s auspicious collaboration with Sidney Boquiren began with the workshop of Odes to Earth and Air. Other recent premieres include two chamber works: The Good Doctor Windhager with Ronnie Reshef, and Summer, 1976 by Kim Sherman, both premiered by the lyricist and the Qube String Quartet in Columbus, Ohio.

Baritone Jorell Williams, winner of the Patricia and Heyward Gignilliat Silver Medal Award at the 2014 American Traditions Competition and acclaimed by The New York Times for his “magnificent, rich toned” baritone and his “perfect” comic timing, is gaining international success on both the opera and concert stages. His 2014/2015 season includes debuts with Finger Lakes Opera, Syracuse Opera, Opera on the Avalon, and premieres of new works with American Repertory Theater and American Opera Projects. Jorell is a recipient of top awards from the Gerda Lissner International Competition, Schuyler Foundation for Career Bridges, the Liberace Foundation, Sergei Koussevitzky Foundation, David Adams art song competition, Civic Morning Musicals Foundation, and the Charles A. Lynam Competition. For more information please visit: http://www.jorellmwilliams.com.

Tenor Brandon Snook has been praised by The New York Times for his “vocal freshness”, along with his “appealing and talented” nature, and has collaborated extensively with AOP, most notably being part of the 2011-12 Composers & the Voice Series. In addition to playing Little Bat in productions of Susannah in Tel Aviv, he premiered the role of Robert Johnson in Phil Kline and Jim Jarmusch’s opera Tesla in New York, Tony in the Off-Off Broadway production of Terrence McNally’s Master Class, and Frederic in The Pirates of Penzance in South Carolina. Additional mainstage credits include Cincinnati Opera, Michigan Opera Theatre, Des Moines Metro Opera, Sarasota Opera, Lyric Opera of Kansas City, and solo concert credits at Lincoln Center and Brooklyn Academy of Music. A native of Dallas, Texas, Brandon has voice degrees from the University of Kansas and the University of Michigan.

Mila Henry is a New York-based pianist, coach, and music director who specializes in music theater projects and vocal chamber music, ranging from art song to cabaret, folk opera to indie musicals, standard repertoire to contemporary classics. She has collaborated with American Opera Projects, American Lyric Theater, Beth Morrison Projects, Center City Opera Theater, Gotham Chamber Opera, HERE, OPERA America, Opera on Tap, Ripe Time, VisionIntoArt, and Two Sides Sounding. Notable engagements include: The Blind (Lincoln Center Festival); Thumbprint and The Scarlet Ibis (PROTOTYPE); Smashed: The Carrie Nation Story (FringeNYC); The World is Round and As One (BAM Fisher); The Difficulty of Crossing a Field (Beth Morrison Projects). milahenry.com

ABOUT THE PRESENTERS:

AOP‘s mission is to identify, develop and present new and innovative works of music-theatre by emerging and established artists and to engage our audiences in an immersive, transformative theatrical experience. At the forefront of the contemporary opera movement for a quarter-century, AOP creates, develops and presents opera and music theatre projects collaborating with young, rising and established artists in the field. AOP has produced over 30 world premieres, most recently Kaminsky/Reed/Campbell’s As One at BAM (2014), Nkeiru Okoye’s Harriet Tubman: When I Crossed That Line to Freedom (2014), and Lera Auerbach’s The Blind (2013), a co-production with Lincoln Center Festival. AOP-developed operas that premiered with co-producers include Gregory Spears’s Paul’s Case at PROTOTYPE (2014), Stephen Schwartz’s Séance on a Wet Afternoon at New York City Opera (2011), and Tarik O’Regan’s Heart of Darkness at London’s Royal Opera House (2011). www.operaprojects.org

Harlem School of the Arts (HSA) enriches the lives of young people and their families through world-class training in and exposure to the arts across multiple disciplines in an environment that emphasizes rigorous training, stimulates creativity, builds self-confidence, and adds a dimension of beauty to their lives. HSA achieves this on-site at The Herb Alpert Center by offering high-quality, affordable, arts training in dance, music, theatre, and visual art to ethnically and socio-economically diverse young people aged 2-18; by providing financial aid and merit scholarships to those who need it most; and by developing key partnerships with other cultural institutions, colleges/universities, and conservatories to prepare its aspiring pre-professional students at the highest possible level. They also reach beyond their walls to provide essential arts education residencies in New York City Public Schools through our Educational Outreach Program. HSA is a dynamic cultural institution that presents a range of high caliber performances, exhibitions and other programming for the community. In addition, they provide rental space/studios for established and emerging artists to rehearse, create and connect with HSA students. Harlem School of the Arts is able to achieve this with the exceptional participation of their family of loyal donors, dedicated parents, involved alumni and generous guest and resident artists. A future in the arts begins here! For more information, visit www.hsanyc.org.


Lemuel Wade (1974-2014)

January 5, 2015

Lemuel WadeAll of us here at AOP are mourning the passing of talented artist and dear friend Lemuel Wade who lost his sudden battle with cancer on December 22. Lem directed the sold-out AOP hit Harriet Tubman: When I Crossed That Line to Freedom, which premiered in February 2014 in Brooklyn. Along with Tubman, Lem’s AOP projects included the concert version of Daniel Sonenberg’s The Summer King in Portland, Maine, Companionship and Dreaming of Wonderland at Manhattan School of Music, and numerous in-house workshops. He was laid to rest among family and friends in his native Chicago.

We are humbly moved that Lem’s family has selected AOP as one of the 3 charities for those interested in making contributions in Lem’s memory.


THREE COMPOSERS & THE VOICE ALUMNI TO BE FEATURED IN FORT WORTH OPERA FRONTIERS SERIES

December 5, 2014

Conrad Cummings, Zachary Redler, and Clint Borzoni to Present Unpublished Operas

Fort Worth, TX—Three alumni of AOP’s long-running Composers & The Voice program – Conrad Cummings, Zachary Redler, and Clint Borzoni – will have their operas featured in Fort Worth Opera’s Frontiers Series, May 7-8, 2015 at the Kimbell Art Museum. Approaching its third year as part of the Fort Worth Opera Festival, Frontiers will present music from Borzoni’s When Adonis Calls, Redler’s Susan Smith (with a libretto by As One’s Mark Campbell), and Cummings’ The Golden Gate, which received development in both C&V and AOP’s First Chance programs.

The purpose of Fort Worth Opera’s Frontiers program is to give voice to unpublished 21st century operatic compositions. The showcase will be chaired by Fort Worth Opera General Director Darren K. Woods and a jury of composers, directors, conductors, producers, opera administrators, and community leaders.

This follows performances in previous years of works by C&V alumni Robert Paterson, Ronnie Reshef, and Daniel Sonenberg, each with operas that they developed in the AOP training program.

Conrad CummingsCONRAD CUMMINGS has composed operas (productions include “Eros and Psyche,” libretto by the composer, Oberlin Opera Theater; “Positions 1956,” libretto by Michael Korie, P.S. 122; “Photo-Op,” libretto by James Siena, La Mama with Ridge Theater; and “Tonkin,” libretto by the composer with Thomas Bird, Opera Delaware) music for orchestra (including New Jersey, Indianapolis, and Louisville Symphonies and the Brooklyn Philharmonic) and amplified chamber ensemble (at the Knitting Factory and P.S. 122). He trained at Yale, Stony Brook, and Columbia, did post-doc work at IRCAM in Paris, taught at Oberlin Conservatory for ten years where he directed the music and media program, moved to New York to run a kids’ interactive media company, and since 2003 teaches composition in the evening division at Juilliard.

Co-produced by AOP and with a libretto adapted from Vikram Seth’s best-selling novel in verse The Golden Gate, five twenty-somethings experience love, life, and loss in the magical and innocent San Francisco of the early 1980’s. John, handsome and successful, will discover too late the price of  his emotional detachment. He has just met Liz through a personals ad placed by his former college girlfriend Jan, a sculptor and punk rock drummer. Meanwhile, John’s best friend from college Phil, reeling from a divorce which has left him the sole single parent of a six-year-old, begins a passionate relationship with the Ed, Liz’s younger brother. Ed is bright, gorgeous, in search of a lover and mentor, and a profoundly conflicted devout Catholic. Couples come apart; new couples form, families are created, friendships are severed. A tragic death leads John, always the outsider, to the promise of a deeper connection and a warmer life.

T0F-uXArZach Redler is an award winning composer, pianist and copyist. Zach’s music has been performed at Lincoln Center, Merkin Hall, National Opera Center, Joe’s Pub and concert halls around the world and has been critically acclaimed by the New York Times, Variety and the Boston Globe. Ben Brantley of the New York Times said, Zach’s music “follows the patterns of minds grasping, often in vain, for clarity, conviction and lost time…it transcends the expected and achieves a haunting originality.” Zach spent 2011-13 in residence as a Van Lier fellow at American Opera Projects as part of their Composers and the Voice Program. For his work in music theatre with Sara Cooper, the American Theatre Wing awarded them with the 2014 Jonathan Larson Grant. In February, Zach’s Opera Memphis commission “Movin’ Up In The World” (libretto by Jerre Dye) as well as a set of his Walt Whitman Art Songs will be performed at the University of Missouri . Zach is on faculty at New York University teaching at Steinhardt and Tisch.  He is a member of ASCAP, Local 802 and a graduate of the Tisch Graduate Musical Theatre Writing Program. www.zachredler.com

With a libretto by Mark Campbell, Susan Smith is an opera in one act about the woman who drowned her two sons in South Carolina in 1994 and the nine days she perpetuated the lie that an African-American man had abducted them at gunpoint. Starting with the filicide and ending with the exposure of Ms. Smith’s guilt, the opera looks closely at the confluence of reasons that brought her to commit such a horrible act: the abuse she suffered as a child, the chaos in her marriage and recent rejection by a lover. By examining these reasons, Susan Smith does not endeavor to exonerate the eponymous woman who committed these crimes, but rather engender some sympathy for her.

photo-Clint_Borzoni1-241x300CLINT BORZONI’s music reflects his passion for lyricism and functional harmony. He has written over sixty pieces, including two full length operas, two one act operas, a piano concerto, percussion quartet, piece for orchestra, two string quartets, several works for chamber orchestra, and over forty art songs. He also wrote the music for the musical, My Life as a Bald Soprano which premiered in the June Havoc Theater during the 2008 Midtown International Theater Festival. Among Borzoni’s honors are the Morton Feldman Award, a Boston Metro Opera Festival Award, the Maurice Liberman music scholarship, operamission’s new cabaret song competition winner, and world premieres by the New York Youth Symphony and the Mannes School of Music’s Percussion Ensemble. He received a B.A. and M.A. in Music Composition from CUNY where he studied with Pulitzer Prize-winning composer David Del Tredici.

When Adonis Calls is a new opera with music by Clint Borzoni. The libretto was constructed by John de los Santos from the poems of Gavin Geoffrey Dillard. It tells the story of an accomplished author, called the Poet, who is struggling with writer’s block and isolation. He is contacted by an eager young fan, known as the Muse, who is interested in both an artistic and personal correspondence. At first reluctant, the Poet joins the Muse in a sensual game of literary discovery that leads the two into unexpected realms of unbridled eroticism. Through their poems, they unleash one another’s pasts, demons, and secret longings. Their harmonized writings culminate with a final meeting in the flesh that transcends beyond what either of them ever believed was possible when they first put pen to paper. When Adonis Calls is a striking new work that blends an exciting score of romantic lyricism with dance and a fresh perspective of operatic storytelling. The music and poetry guide the characters through a surreal journey filled with wit, lust, rage, and ultimately, love. When Adonis Calls utilizes an ensemble of two baritones, string quartet, percussionist, and two dancers. whenadoniscalls.com

 


NEW OPERA TACKLES RACISM IN AMERICA IN CONCERT PERFORMANCES THIS NOVEMBER

October 30, 2014

Independence Eve, currently in development at AOP, to be presented at Adelphi University and Brooklyn’s South Oxford Space

NEW YORK, NYAOP (American Opera Projects) and Adelphi University present Independence Eve, a new chamber opera in three scenes that explores the troubled journey of race relations in America. The concert performances will take place on Thursday, November 13 at 7:30PM at the Concert Hall of the Performing Arts Center at Adelphi University (1 South Ave, Garden City, NY 11530), with a second performance on Saturday, November 15 at 8PM in the Great Room at AOP’s South Oxford Space (138 S Oxford Street, Brooklyn, NY 11217). Composed by Sidney Marquez Boquiren with a libretto by Daniel Neer, the opera will include performances by baritone Jorell Williams, and tenor Brandon Snook. Damian Norfleet will act as stage director, while Mila Henry will provide music direction and piano.

Tickets for the Nov. 13 Adelphi performance will be $20 with discounts suitable for seniors, alumni and students. Tickets are on sale now and are available at http://aupac.adelphi.edu/. Tickets for the Nov. 15 South Oxford Space performance will be $20 and $15 for students and seniors and are available at www.operaprojects.org.

Currently in development at AOP, Independence Eve is comprised of three unrelated scenes, each of which take place on July 3 on a park bench in an unspecified American city, in the years 1963, 2013, and 2063. Each story focuses on the relationship between two men, one white and one black, who struggle with identity and acceptance. Independence Eve is a study of black and white America, offering commentary on the intricacies of race relations and the insidious and persistent stain of racism that has remained consistent throughout American history. The first scene of the opera, “Stop and Frisk,” has already received numerous community performances throughout Brooklyn, including this year’s BEAT festival. It has garnered attention from the press, including a recent Talk of the Town profile in The New Yorker.

Independence Eve is currently in development as part of the Brooklyn organization’s First Chance program that gives composers and librettists a first chance to hear their work performed before an audience. Development of the opera began during Mr. Boquiren’s fellowship in the 2011-12 season of AOP’s composer training program Composers & the Voice with both Mr. Williams and Mr. Snook creating their roles. Development of the opera is made possible, in part, through generous funding by The Andrew W. Mellon Foundation and the New York Department of Cultural Affairs. AOP plans to present the world premiere of Independence Eve at park benches around New York City in June 2015.

ADDITIONAL PROJECT INFO AND PRESS MATERIALS AVAILABLE AT: www.operaprojects.org

Jorell Williams and Brandon Snook in Two Sides Sounding's 2014 presentation of the AOP-developed "Stop and Frisk"

Jorell Williams and Brandon Snook in Two Sides Sounding’s 2014 presentation of the AOP-developed “Stop and Frisk”

ABOUT THE ARTISTS:

Sidney Marquez Boquiren is a composer-performer who grew up in the Philippines and Saudi Arabia but has spent most of his life in the United States. He collaborates with artists on various projects that include opera (Independence Eve with Daniel Neer); Biblical illumination (folia ligni for Spark and Echo Arts); and multi-media (The Gretel Project with Lauren K. Alleyne, Catherine Chung, and Tomiko Jones). As a pianist, he performs regularly with Rhymes With Opera and pulsoptional. -A MacDowell Fellow, Sidney is currently the Chair of the Department of Music at Adelphi University in Garden City, New York, where he teaches music theory and composition. He is also a cantor and sings in the church choir of The Church of St. Francis Xavier in Manhattan.

Daniel Neer enjoys a diverse career as a singing actor and librettist. Recent projects include Bruce Bailey with Daniel Felsenfeld for the BEAT Festival, and BQE with Robinson McClellan for the Queens New Music Festival, (both commissioned by Two Sides Sounding). The opera Mercury Falling, with Chandler Carter, was presented at the Long Leaf Festival in Raleigh, North Carolina, and song set HAIKU-NYC with Ellen Mandel recently premiered at the BEAT Festival. Daniel’s auspicious collaboration with Sidney Boquiren began with the workshop of Odes to Earth and Air, a partnership continuing with Independence Eve in collaboration with American Opera Projects. Other recent premieres include two chamber works: The Good Doctor Windhager with Ronnie Reshef, and Summer, 1976 by Kim Sherman, both premiered by the lyricist and the Qube String Quartet in Columbus, Ohio. Baritone

Jorell Williams is from Brentwood, Long Island, but he was born in Brooklyn at Kings County Hospital. He had the honor of performing with the Chorale Le Chateau of New York in “A CELEBRATION OF AMERICA” in the Kennedy Center’s Eisenhower Theater on the occasion of the Presidential Inauguration of Barack Obama and Martin Luther King, Jr. Day. Praised by Opera News as having a “Solid vocal core” and the ABC News & Entertainment as “smooth-voiced”, Jorell Williams is pursuing a versatile performing career. Highlights of Jorell’s work include: Off-Broadway debut as The Villager with the New York City Center Encores! production of Kurt Weill’s Lost in the Stars, Captain Corcoran in HMS Pinafore (2011) and Fiesque in Maria di Rohan (2010) with the Caramoor International Music Festival, “The Muir” with the Mark Morris Dance Group, recording “Mr. President/Americana” with the Essential Voices USA for NPR, Maximilian in Candide with Coópera: Project Opera Manhattan, and appearing with the Metropolitan Opera/Lincoln Center Opera Theatre’s collaborative workshop reading of Nico Muhly’s TWO BOYS (2011) and Michael Torke’s SENNA (2010). Mr. Williams is a graduate from the Manhattan School of Music, and earned his undergraduate degree at SUNY Purchase Conservatory of Music. For more information, please visit: http://www.myspace.com/jorellwilliams

Tenor Brandon Snook has been praised by The New York Times for his “vocal freshness”, along with his “appealing and talented” nature, and has collaborated extensively with AOP, most notably being part of the 2011-12 Composers & the Voice Series. In addition to playing Little Bat in productions of Susannah in Tel Aviv, he premiered the role of Robert Johnson in Phil Kline and Jim Jarmusch’s opera Tesla in New York, Tony in the Off-Off Broadway production of Terrence McNally’s Master Class, and Frederic in The Pirates of Penzance in South Carolina. Additional mainstage credits include Cincinnati Opera, Michigan Opera Theatre, Des Moines Metro Opera, Sarasota Opera, Lyric Opera of Kansas City, and solo concert credits at Lincoln Center and Brooklyn Academy of Music. A native of Dallas, Texas, Brandon has voice degrees from the University of Kansas and the University of Michigan.

Damian Norfleet is a singer, actor, and director from New York City. His past collaborations with the American Opera Project include Harriet Tubman: When I Crossed, The Summer King, Brer Rabbit and the Tar Baby, and We’ve Got Our Eye On You. Other past productions include Dreamgirls, Ragtime, Showboat, Cats, Henry V, The Festival of the Lion King, Smokey Joe’s Cafe, Tommy, Equus, The Music Man, Kiss me, Kate; The Threepenny Opera, Makandal, Go West! (Village People Musical), Casanova, The Tenderland, Don Giovanni, Carmen, the new American opera Truth, the feature film Outliving Emily and the webseries Co-Operation.

Mila Henry is a New York-based pianist, coach, and music director who specializes in music theater projects and vocal chamber music, ranging from art song to cabaret, folk opera to indie musicals, standard repertoire to contemporary classics. She has collaborated with American Opera Projects, American Lyric Theater, Beth Morrison Projects, Center City Opera Theater, Gotham Chamber Opera, HERE, OPERA America, Opera on Tap, Ripe Time, VisionIntoArt, and Two Sides Sounding. Notable engagements include: The Blind (Lincoln Center Festival); Thumbprint and The Scarlet Ibis (PROTOTYPE); Smashed: The Carrie Nation Story (FringeNYC); The World is Round and As One (BAM Fisher); The Difficulty of Crossing a Field (Beth Morrison Projects). milahenry.com

ABOUT THE PRESENTERS: AOP‘s mission is to identify, develop and present new and innovative works of music-theatre by emerging and established artists and to engage our audiences in an immersive, transformative theatrical experience. At the forefront of the contemporary opera movement for a quarter-century, AOP creates, develops and presents opera and music theatre projects collaborating with young, rising and established artists in the field. AOP has produced over 30 world premieres, most recently Kaminsky/Reed/Campbell’s As One at BAM (2014), Nkeiru Okoye’s Harriet Tubman: When I Crossed That Line to Freedom (2014), and Lera Auerbach’s The Blind (2013), a co-production with Lincoln Center Festival. AOP-developed operas that premiered with co-producers include Gregory Spears’s Paul’s Case at PROTOTYPE (2014), Stephen Schwartz’s Séance on a Wet Afternoon at New York City Opera (2011), and Tarik O’Regan’s Heart of Darkness at London’s Royal Opera House (2011). www.operaprojects.org

About Adelphi University: Adelphi is a world-class, modern university with excellent and highly relevant programs where students prepare for lives of active citizenship and professional careers. Through its schools and programs—College of Arts and Sciences, Derner Institute of Advanced Psychological Studies, Honors College, Robert B. Willumstad School of Business, Ruth S. Ammon School of Education, University College, College of Nursing and Public Health and the School of Social Work—the coeducational university offers undergraduate and graduate degrees as well as professional and educational programs for adults. Adelphi University currently enrolls nearly 8,000 students from 43 states and 45 foreign countries. With its main campus in Garden City and its centers in Manhattan, Suffolk County, and Poughkeepsie, the University, chartered in 1896, maintains a commitment to liberal studies, in tandem with rigorous professional preparation and active citizenship.


POET AND LIBRETTIST J. D. MCCLATCHY TO PREVIEW NEW OPERA IN AFTERNOON OF POETRY AND MUSIC

October 23, 2014

Afternoon at NYC’s Poets House to feature libretto reading and music performance from The Leopard, based on famous Italian novel

Leopard-1.1

NEW YORK, NY – AOP (American Opera Projects) and Poets House present a discussion with award-winning poet and librettist J. D. McClatchy followed by a reading of his latest opera libretto The Leopard, based on the acclaimed novel by Giuseppe Tomasi di Lampedusa and directed by James Robinson. The discussion will be joined by The Leopard‘s composer Michael Dellaira and will feature a performance of music from the opera-in-development and a mid-event reception with the artists. The event will take place on Saturday, November 8 at 3 PM at Kray Hall in Poets House (10 River Terrace, New York, NY 10282 in Battery Park City). Tickets are $10, $7 for students and seniors, free to Poets House members and can be purchased at www.poetshouse.org.

Commissioned and in development by AOP, The Leopard is the third opera from librettist J. D. McClatchy and composer Michael Dellaira, following The Secret Agent (2011) and The Death of Webern (2013). In their latest opera, the Prince of Salina, known as The Leopard because of his commanding personality, faces a society in upheaval during Garibaldi’s 1860 invasion of Sicily, and is forced to choose between decay and progress, between the downfall of the nobility and the future of his family. The completed opera will be in two acts.

The Leopard has been commissioned by AOP and is currently in development as part pf the Brooklyn organization’s First Chance program that gives composers and librettists a first chance to hear their work performed before an audience. Development of the opera is made possible, in part, through generous funding by the Virginia B. Toulmin Foundation and the Paul Underwood Charitable Trust.

Based on the internationally acclaimed 1958 novel Il Gattopardo by Giuseppe Tomasi di Lampedusa, The Leopard was also adapted into the 1963 film classic by Luchino Visconti starring Burt Lancaster and Claudia Cardinale.

ABOUT THE ARTISTS

J. D. McClatchy is the author of eight books of poems, most recently Plundered Hearts: New and Selected Poems (Knopf). He has written libretti for Francis Thorne’s Mario and the Magician (1994), Tobias Picker’s Emmeline (1996), Lorin Maazel’s 1984 (with Thomas Meehan, 2005), Lowell Liebermann’s Miss Lonelyhearts (2006), Ned Rorem’s Our Town (2006), Elliot Goldenthal’s Grendel (with Julie Taymor, 2006), Bernard Rands’s Vincent (2011), Daron Hagen’s Little Nemo in Slumberland (2012), Martin Bresnick’s My Friend’s Story (2013), and Tobias Picker’s Dolores Claiborne (2013). His work has been performed at the Metropolitan Opera, Covent Garden, La Scala, the Kennedy Center, San Francisco Opera, and other leading opera stages around the world.

James Robinson is regarded as one of America’s most inventive and sought-after stage directors. Artistic Director of Opera Theatre of Saint Louis, Robinson has staged productions for major opera companies, including New York City Opera, Santa Fe Opera, Houston Grand Opera, Washington National Opera, Welsh National Opera, Canadian Opera Company, San Francisco Opera, and Seattle Opera. Recent projects include the world premiere of Picker’s Dolores Claiborne for San Francisco Opera, the American premiere of Huang Ruo’s Dr. Sun Yat Sen for Santa Fe Opera and the world premiere of Champion.

Michael Dellaira is the composer of three operas. His first, Chéri, on a libretto by Susan Yankowitz, produced by The Actors Studio and directed by Tony-Award winner Carlin Glynn, was a finalist for the 2006 American Academy of Arts and Letters Richard Rodgers Award in Musical Theater. From 2006-2010 he was composer-in-residence with the Center for Contemporary Opera, which co-commissioned The Secret Agent, his first collaboration with J. D. McClatchy. The Death of Webern, also on a libretto by J.D. McClatchy, was commissioned by The Pocket Opera Players and premiered in October 2013.

ABOUT THE PRESENTERS

AOP‘s mission is to identify, develop and present new and innovative works of music theater by emerging and established artists and to engage our audiences in an immersive, transformative theatrical experience. At the forefront of the contemporary opera movement for a quarter-century, AOP creates, develops and presents opera and music theatre projects collaborating with young, rising and established artists in the field. AOP has produced over 30 world premieres, most recently Kaminsky/Reed/Campbell’s As One at BAM (2014), Nkeiru Okoye’s Harriet Tubman: When I Crossed That Line to Freedom (2014), and Lera Auerbach’s The Blind (2013), a co-production with Lincoln Center Festival. AOP-developed operas that premiered with co-producers include Gregory Spears’s Paul’s Case at PROTOTYPE (2014), Stephen Schwartz’s Séance on a Wet Afternoon at New York City Opera (2011), and Tarik O’Regan’s Heart of Darkness at London’s Royal Opera House (2011). www.operaprojects.org

Poets House is a national 60,000-volume poetry library, literary center for adults and children, and exhibition space that invites poets and the public to step into the living tradition of poetry. Poets House – through its poetry resources, literary events, and archival and poetry-related visual art exhibitions – documents the wealth and diversity of modern poetry and stimulates public dialogue on issues related to poetry in culture. Founded in 1985 by two-time Poet Laureate Stanley Kunitz and legendary arts administrator Elizabeth Kray, the library has created a home for all who read and write poetry. In 2009, Poets House moved into its permanent home, at 10 River Terrace in Battery Park City, on the banks of the Hudson River. For more information about these events and Poets House in general, visit poetshouse.org and join us on Facebook and Twitter.


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