In its profile of the current fusion of opera and dance, the Fall 2013 issue of OPERA America Magazine singled out AOP’s Wolf-in-Skins as a prime example of the form.
Composer Gregory Spears, who is collaborating with librettist Christopher Williams on the opera Wolf-in-Skins, says that when it comes to propelling narrative opera and dance each have their own particular strengths. “Opera excels at portraying a character’s inner monologue and builds tension through anticipation and reflection,” he says, whereas dance is “action expressed through movement.”
Williams, a trained dancer, is also the works’ director and choreographer. “As a director, I have a tool belt from which I can pull out whatever tools are necessary to tell the story,” he says. “I don’t see boundaries between the art forms and each has an ideal way to convey the narrative at that moment.” In Wolf-in-Skins the Singers also dance.
Williams felt that the epic nature of Wolf-in-Skins required equal contributions from opera, dance and the visual arts, and takes his cues from Wagner’s gesamtkunstwerk and Diaghilev’s Ballet Russe, where collaborations were forged among Stravinsky, Debussy, Picasso, Matisse, Balanchine and Massine. Portions of Wolf-in-Skins were performed earlier this year with Philadelphia Dance projects and co-presented by American Opera Projects, which has also helped developed the work.
The complete article, written by Patricia Kiernan Johnson, is available online to OPERA America members and downloadable at the iTunes Store. Wolf-in-Skins is currently in development at AOP.