Composers & the Voice checks into the Gershwin Hotel

January 29, 2010
"Worra and Peterson at Summer Streets"

Jennifer Peterson accompanies Caroline Worra at SummerStreets Festival

C&V co-music director Jennifer Peterson has been given a room at The Gershwin Hotel and she’s asked a number of Composers & the Voice alumni to join her! Peterson’s newly formed organization operamission and producer Neke Carson will be entertaining Gershwin guests with an ongoing music series that will next feature tenor Keith Jameson (Composers & the Voice 02-03, The Golden Gate, and some tiny roadhouse called The Metropolitan Opera) on Friday January 29 at 8pm performing cabaret songs by Stephen Sondheim, Irving Berlin, Sheldon Harnick, Kander & Ebb, Maltby & Shire and more. Tickets are $20 at the door.

Future works in the series will feature C&V singers Amy van Roekel, Caroline Worra, and Matthew Garrett performing works by C&V composers Clint Borzoni, Edward Ficklin, and Stephen Andrew Taylor. For full details visit

PRESS REVIEWS: “Clear, appealing score” of Golden Gate “not only eminently singable but effective.”

January 22, 2010
Golden Gate workshop photo from NY Times

“The Golden Gate”: David Adam Moore and Katrina Thurman in the Rose Studio at Lincoln Center. Photo: Rachel Papo for The New York Times

January’s sold-out workshop of Conrad CummingsThe Golden Gate at the Rose Studio in Lincoln Center garnered positive reviews from The New York Times and Musical America. Steven Osgood conducted a cast directed by John Henry Davis that included David Adam Moore, Hai-Ting Chinn, Katrina Thurman, Kevin Burdette, and Keith Jameson.

Steve Smith at The New York Times remarked, “In creating an opera based on [Vikram] Seth’s novel, the composer Conrad Cummings has fashioned an equally improbable fusion: lithe melodic lines that flow and entwine in the manner of Monteverdi, peppered with musical references to Henry Mancini and the punk band Black Flag.” “The singers…offered rich, engaged performances. Constantly shifting between firsthand declamation and third-person observation, they achieved a gabby intensity more often encountered in Stephen Sondheim’s musicals than in the opera house.” Read full review

At Musical America, Patrick Smith praised the composer, stating that “Cummings has always had a gift for opera, and his vocal line is not only eminently singable but effective in giving the accompaniment a feeling of being complimentary rather than at odds with the voices. And, like all good opera composers, his music-making keeps the dramatic impetus moving.” Read full review

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